Digic Pictures is an award winning, visual effects and animation studio from Budapest, Hungary, well known for their games cinematics, like Final Fantasy, Assassin’s Creed, Destiny 2, AC Revelations, Witcher 3, Halo 4, Call of Duty Advanced Warfare.
Ahead of the CGA (Computer Graphics and Arts) Conference in Belgrade, we had an honour to talk to Szabolcs Horvatth about the studio and his conference presentation.
Nikola is Principal PD/PO based in Toronto, working with multiple teams and projects in Autodesk. He is responsible for Maya Color Management, Hypershade, Render Setup, directly working with Arnold Team and designing Maya future workflows like MaterialX – LookDevX and Procedural world building. He was previously working on various positions with smaller and large studios as Sony Imageworks and Framestore. Nikola will be presenting Maya Modern Rendering Workflows at Computer graphics and art conference and share his knowledge how to advance academic programs at Education in Computer Grapnics panel.
You were working in VFX productions such as Sony Pictures Imageworks and Framestore, and now on development of software that you used as a lighting artist. What is the feeling when you know that some of your solutions will affect the development of the VFX industry? Is there something you are missing about the VFX?
I feel challenged since working on beast as Maya it’s not easy task, it’s kind ‘a nerve-wrecking because you are aware that specific change will affect many users through a whole planet. Additional “good” problem is that Maya is CG industry standard that surrounding large sets of different workflows but in same time it’s used in many other diverse Industries that dictating different requirements. To complicate even more, you can divide CG industry requirements in at least 3 groups that in some cases dictating quite different requirements. Yeah, choosing right path many times would need some brave decisions that are based on many factors.
We could truthfully state that I am in some interesting position where I am affecting industry to lean in to specific direction however, greater truth is that behind every struggle and final success is a group effort and there is nothing different in my case.
Working on shots, struggling trough Pipe and finding solution is something that I miss a lot from industry. I guess biggest difference is that in VFX Industry you would see ramification of your work on daily basic, compering to Software developing where your products are coming out after one or two years and actual feedback is delayed even more.
Latest Open Studio’s animation showreel is online.
Značajna imena svetske i regionalne industrije vizuelnih efekata, animacije, gejminga, virtuelne realnosti i digitalne umetnosti okupiće se na Computer Graphics & Arts Conference Belgrade (CGA Belgrade), 24. i 25. novembra u Muzej nauke i tehnike u Beogradu.
Sa ciljem da postane platforma za podršku razvoja profesionalne zajednice studija, frilensera, profesionalaca, studenata i obrazovnih institucija posvećenih razvoju kompjuterske grafike u Srbiji, konferenciju CGA Belgrade organizuju Film In Serbia, Crater VFX Training Center i portal VFX Serbia.
Bilo da želite da saznate kako nastaju holivduski hitovi kao što su „Doctor Strange“ i „Deadpool“ ili ruski blokbasteri poput filmova „Attraction“ i „Stalingrad“, ali i najpopularnije video igre na svetu poput „Assassin’s Creed“, imaćete priliku da tokom dva dana iz prve ruke dobijete savete od predavača koji dolaze iz vodećih svetskih kompanija kao što su: Digic Pictures i Main Road|Post , kao i softverskih kuća:Autodesk, Foundry i V-Ray Chaos Group.
Open Studio worked with Tunafish and director Marko Djilas to make TVC/online film for biggest Middle East coffee brand Carioca. Herceg Novi was found as great choice of generic Mediterranean location.
For the shoes VFX It was shot with performer wearing green suit and hero shoes, followed with empty plates.
It’s 2017 and computer graphics have conquered the Uncanny Valley, that strange place where things are almost real… but not quite. After decades of innovation, we’re at the point where we can conjure just about anything with software. The battle for photoreal CGI has been won, so the question is… what happens now?