My remote VFX studio
Indie games development & digital art blog
My wife and partner Kristen Hollinsworth is a pilates teacher and a modern dancer from New York City – today based in Amsterdam, Netherlands.
One of the highlights of 2019 was definitely the work I’ve done for The Artery NYC on the one and only Queen Bey’s movie about her journey to the legendary Coachella performance.
You can follow the link below to the trailer, and watch the movie on Netflix, and you’ll see my name in the credits next to names of some fantastic artists I got to share days (and nights) with for the duration of the show.
Promax on today’s daily brief had an amazing write-up about the great Eurovision project that has put together 20+ artists together. A video like no other, the work organized by The Artery NYC provided a rare opportunity to collaborate with a fantastic international crew of artists.
And you can also click here to read the article
CGA Belgrade 2018, computer graphics & arts conference is happening on Friday, November 16th and Saturday, November 17th in Belgrade, Serbia. I’ll be one of the speakers, while the keynote speech is to be delivered by one of the industry’s greats – Mike Seymour (fxguide.com). If you can, definitely swing by to listen to my talk on the entire process of VFX, “From Bid to the Finish line”.
UPDATE: I am scheduled to appear and speak on Friday, November 16th, from 17:00 to 17:45
See you in Belgrade!
I helped bring Stevie Wonder’s and Ariana Grande collaboration on song “Faith” to life. I had another opportunity to supervise the amazing MPC’s VFX team and work on solving the creative task of bringing Alan Bibby’s vision to life. The animation was loosely based on the famous “Muto” animation by Blu and we had to achieve the similar wall-paint effect for the outdoor animations. Then, in 2D, using camera tracks, we put together a treatment for the interior shots where the animated animals from “Sing”, the blockbuster movie out in theaters now were rotoscoped out of the provided footage and composited into the environment using the magic of spotlights.
Amazing team by the MPC team, yet again! Enjoy the song!
Slipped my mind completely, but my collaboration with Ulf Johansson through MPC New York was on the cover of Advertising Age back in the day when Puppymonkeybaby happened . (Superbowl 50 – 2016). What a ride it was. Look around the website to find the spot. Four manic weeks of working till the wee hours payed off with the weirdest ad to hit Superbowl ever.
MPC has in 2016 provided VFX for a number of Super Bowl spots, and I have a mention in the article on CGW.
An oddity of it’s own universe, the Puppymonkeybaby creature was conceived for the Mountain Dew Kickstart brand Super Bowl 2016 commercial by the BBDO New York creative team and brought to life by the MPC New York creative team, with myself at the helm as the in-house VFX supervisor, project lead and compositing artist. Three different things, the puppy, monkey and the baby combined into a single life-form is reflecting the Mountain Dew “Kickstart” energy drink’s three main ingredients – dew, juice and caffeine.
Some of the most complex compositing work we did in a long time done on an absolutely ridiculous deadline, the new industry standard – to an amazing result. So much fun to do it, even more to watch it. Millions of views on the YouTube pre-release in a matter of just a few days. This one is going to be talked about.
I’ve worked as VFX Supervisor for MPC on the new John Watts film, Cop Car which is soon to hit the theaters. It’s a must see, and it’s already facing a frenzy of excellent reviews. America deserves a top-notch road movie with a heart, which Cop Car truly is. John was tipped to direct the new Spiderman movie, so congratulations!
It was a pleasure to work on this project with such a cool group of creatives.
Liam Neeson’s gritty drama received a VFX treatment on many levels by the team I had the pleasure to be a compositing supervisor of at Method Studios NY.
There is more to post-production then it meets the eye, in this article featuring prominent VFX artists, among which is yours truly.
Spike Lee produced the first feature of Julius Onah, “The Girl is in Trouble” to good reviews, and I had the pleasure of being the VFX supervisor of the feature. Amazing cast, “That 70’s Show” Wilmer Walderama in an unrecognizible role as a street thug with a good heart.
An excellent effort from a rising star.
The work I did on Wolf Of Wall Street got a write-up on the go-to portal for goings-on in Hollywood, flickeringmyth.com
Excerpt below is from the segment of the article which is an interview with the VFX supervisor of Method Studios NY I worked with on the project, Mark O. Forker, to whom I am grateful for the great experience of working on yet another amazing feature:
“Aleksandar was integral to this entire show,” replies Marko Forker when asked about the contribution made by Method Studios Compositing Supervisor Aleksandar Djordjevic. “He took the initiative to turn breakdown every angle and sequence into contact sheets. This is term I use for all of the shots simultaneously as it pertains to those particular angles. Aleksandar broke it down that way and split up the work amongst the compositors in an organized way that made sense; he comes with a lot of experience to organize a show like that and work individually with all of the artists to give them the initial Nuke scripts that they might get started with and making adjustments from there. It was a gargantuan job and because of the number of the shots we were working on simultaneously. We didn’t necessarily get feedback on it on a daily basis so sometimes there were some fairly big changes on a large scale basis and when those came in it was simple because of the way Aleksandar had laid out the show. They would ripple through in an organized fashion.”
Sia & Daniel Askill directed (and performed) video, starring Maddie Zigler, the child dance-prodigy, came to MPC with a simple conform and VFX cleanup and repo request, and between myself and MPC color, we have delivered the spot in record time to raving reviews.
Working on a RDJ is never a small feat. Even a low key, indie drama “The Judge” ended up having quite a few “hidden” effects shots. We made a storm. We threw leaves around it. We raised hell and then brought back the heaven. We did some gross, gross effects, and I had to personally “polish” some of them even more. Watch the movie, you’ll know. It was so much fun coming up with all these crazy creative solutions – and the movie is not bad, too. 😉
I was the compositing supervisor for the amazing team at Method Studios New York for the sequel to americas most badass action figures-based feature. Great pop-corn movie by John M. Chu, a throwback to the good old days of action cinema. Loved working on those burning gloves.