Kada smo prošli put radili intervju radio si u gaming indutriji, međutim sada radiš za Autodesk. Koji je razlog tvog prelaska iz gaming u VFX industriju?
Od samog početka moje karijere više sam se zanimao za VFX i film. Nedostatak VFX studija u Novom Sadu i moj manjak želje da odem za Beograd su glavni razlozi mojih gaming početaka. To je po meni bilo odlično iskustvo, naučio sam mnogo sto se tiče posla. Ali zelja za znanjem i kompleksnijim tehnikama je preovladala.
Imali smo prilike da vidimo da si koristio Arnold GPU render. Možeš li nam reći lične utiske o njemu i da li GPU zaista biti konkurencija CPU renderima u smislu fotorealističnih rendera?
Nažalost, neću moći mnogo da kažem, pošto je softver još uvek u beta verziji. CPU i GPU rendereri imaju još uvek razlicite primene. GPU rendereri i dalje ne mogu da renderuju ogromne scene, gde još uvek CPU rendereri prednjače. GPU rendereri trenutno mogu imati odličnu primenu u lookdev procesu i tako ga ubrzati. Mislim da će u narednih par godina ta linija da se istanji.
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Can you introduce yourself and tell us about your beginnings?
Hi, my name is Stefan Jevremovic, born and raised in Belgrade, Serbia. I make Realtime Visual Effect for games.
I was always passionate about art and games. I started playing with LEGO when I was four and playing games on my Commodore 64 when I was six. My beginning was the same as a lot of other digital artists with Windows Paint, then Photoshop. I started self-teaching 3D computer graphics in 1998. mostly for fun. Back then there were no video tutorial and in fact not many tutorials at all. Many I found online had a lot of text and few screenshots, so I had to use a dictionary to translate them.
I also spent a lot of time playing video games. That was the reason I wasn’t improving much with 3D for some time. I was teaching myself 3D until 2006. when I enrolled to the Chiron School for VFX for movies in Belgrade. This time I was learning Autodesk Maya and the courses covered Modeling, Texturing, Rendering, Lighting, basic Rigging and Character Animation. When I finished the courses I had problem deciding on which area of 3D I want to focus and specialize in.
As soon as I finished the university for Business and Management I started getting work as Freelancer focusing on Hard-surface Modeling. Most of the work I got was the leftover project from a friend. After few project I became faster and better and I was working alongside that friend on cinematic trailers for World of Battleships and World of Warplanes.
Yavor Stoykov is a 3D Artist with many years of experience in 3D modelling and visualization. Yavor joined the Chaos Group 3D team in 2010, after working for an architectural practice. Since then he has been one of the main driving forces behind the creation of the V-Ray Training Programs and all the companys arch-viz demos.
You were a representative of a Chaos Group at CGA in Belgrade. What are the impressions of the conference and can you tell us more about your presentation?
Feeling very happy to be in Belgrade. As a part of Chaos Group, I was honored to have the opportunity to be part and contribut to the CGA conference and share the latest V-Ray developments with the community.
In this session I summarized some of the most interesting examples, focusing on tips and optimal use cases of V-Ray’s 3.6 most advanced features between 3ds Max and Maya, GPU and hybrid rendering, cross-platform scene transfer, very convenient approaches to working with third-party assets, and touched on the optimal way of employing Chaos Group’s own simulator – Phoenix FD. The final touches were happen in the very potent ray-tracing addition to the compositors’ toolset – V-Ray for NUKE. All this – in the optimal render time, of course.
Vladimir is founder and CEO of 3Lateral, a multidisciplinary company built around passion for creation of an appearance of life in digital medium. Vladimir’s focus in career are high fidelity digital humans starting from capture systems (3D and 4D scanning, appearance capture) to modelling and articulation systems to data bases, statistical modelling and engine integration. 3Lateral has received several prestigious awards including Most Innovative Entrepreneur by EY (2014) and Best Real Time Graphics and Interactivity (SIGGRAPH 2016, as part of team of companies Epic Games, Ninja Theory, Cubic Motion and 3Lateral). Portfolio of his company includes many AAA game titles including Grand Theft Auto IV and V, Red Dead Redemption, Horizon: Zero Dawn, Star Citizen, Until Dawn, Battlefield 1 and The Order:1886. We had an opportunity to hear about the 3Lateral’s “behind the scenes” works at CGA Belgrade conference, where Vladimir exclusively premiered some of their fresh developments.
Milica Zec is a New York City-based film and virtual reality director, editor, and screenwriter.Her directorial debut in the virtual reality medium was a short narrative piece called, “Giant,” which premiered at Sundance Film Festival New Frontier 2016. “Giant” is a virtual reality experience based on true events, that transports the viewer into the experience of a family struggling to survive in an active war zone. Since its premiere, “Giant” has been lauded as a seminal expression of the potential of virtual reality as a storytelling vehicle, and has been featured in numerous press outlets as one of the top VR experiences at Sundance 2016.
First of all, tell us how did you continue you career in New York, after graduating from the Faculty of Dramatic Arts in Belgrade?
After graduating from the Faculty of Dramatic Arts I moved to New York to pursue a career as a film editor. I was working on numerous feature narrative films and documentaries. I also worked for nine years with Marina Abramovic as an editor, director and producer.
Did political situation in Serbia and the wars in the former Yugoslavia pushed you into thinking more about the issues of conflict, identity, human struggle?
Yes definitely, because of that experience I wanted to create a VR project called Giant where I wanted to share my experience through a narrative fictional story. What mattered was to transfer the emotion and realism of what people are going through in conflict zones. I wanted to share that primarily with a Western audience who have never been in such situations, so that they can broaden their understanding through being immersed in the story. The family in Giant is Western, too, so the audience can relate more.