LONDON, England (CNN) -- Tino Schaedler is an architect-turned-digital design artist whose groundbreaking work has been seen in "Charlie and the Chocolate Factory" and "Harry Potter and the Order of the Phoenix."



Tino Schaedler, Jean-Lucien Gay and Michael J. Brown talk about design, virtuality and the future



Schaedler's next film project is "Prince of Persia: The Sands of Time," a fantasy epic starring Jake Gyllenhaal and due in 2010.



In 2007 he joined with Michael J. Brown and Jean-Lucien Gay to found NAU, a cross-disciplinary design collective positioned between architecture and film.



CNN talked to Schaedler and his NAU colleagues, as well as collaborator Ken Leung, a graphic designer.



CNN: You have said that graphic design is very powerful. Can you explain why?



TS: I think graphic design, for us, is very important as it helps to break down very complex information into digestible, easy-to-understand buttons or whatever. In the world we're living in, we're flooded with information and need someone to almost kind of channel it and create signs that we can read. That's why I think graphic design becomes more important, the more complex our world becomes.



CNN: Can you explain the work that NAU does?



TS: NAU is a company that I founded with Michael and Jean-Lucien, friends from the architect firm I worked at. I guess we all wanted to collaborate, and me being interested in drifting back from the world of architecture to the world of film, I guess Michael and Jean-Lucien had something to offer. They usually take over the architectural side of things and I can be more free and visionary. I push them further with the kind of ideas I come up with and at the same time they make my ideas real.



JLG: The idea was really to create a label, a structure that could cope with all the different locations that we're working from. It's also about the idea of remote collaboration.



CNN: How important is it for you to collaborate with people?



TS: For me, working with Ken has been like adding a whole new layer to the 3D worlds that I'm designing. I always liked the combination of high-end 3D graphics and subtle 2D graphics.



I think for me, collaboration is also about creating situations that we'll both profit from. Also there are new tools we use that are a combination of Skype, video conferencing and Photoshop which allow you to do a video conference, which allow me to use a sketchpad that the other person can see.



We can sketch correspondingly with each other and create something although we are not sitting in the same office.



KL: Working with Tino, I've seen my work transformed into 3D. My background is print and magazines, so in this sense, things come alive, they move, it makes it real.



CNN: How does architecture tie in with digital or 3D design?



TS: You need two images and through the images you can interpolate the architectural spatial design which creates a 3D model... that technique also comes into film because it is photogrammetry, (a way of measuring 2D or 3D objects from photo-grammes or photographs as well as electronic imagery.)



CNN: Didn't the makers of "The Matrix" use similar technology?



TS: They basically just have the actress [Carrie-Ann Moss] up in the air and they take a photograph each at the same time so that's why she's in that movement... the camera moves around her but she doesn't move because its all different shots so you stretch the whole experience in two or three seconds. We're doing something similar on [the film] "Prince of Persia" that I've just finished. We record some action with five cameras... from these five images they recreate the actors as 3D objects and then project according to which angle. It's fascinating what kind of technology is out there.



CNN: Can you define the relationship between working as
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