Outer Range Season 1

I was the on-set VFX Supervisor for the entire first season of Outer Range, starring Josh Brollin. I spent half a year in pre-production and eight months in a covid bubble isolation in New Mexico, where I worked on designing, blue printing and inventing all the VFX effects for the show in collaboration with the vendors I picked to do the demanding visual effects work on this one.

My background with creature work helped with the creature work on-set filming process, and the show ended up having some really great shots but due to many converging factors in production it flew mostly under the radar.

This was definitely one of the biggest ones I’ve ever done – unexpectedly so due to the pandemic situation. Due to the long shoot time, show’s VFX look development and most of the main VFX work was almost entirely completed by the time we finished filming – sans a few last-minute additions mostly filmed in camera with SFX, which was surely a first.

Originally we were gonna film in Alberta, Canada for three months or so, with the mountains there serving as an ideal backdrop to the Grand Tetons look sought after by the showrunners. But – we ended up filming in New Mexico, in areas around Albuquerque and Las Vegas (the New Mexico one).

The VFX workflow therefore was a bit different than usual do, what I referred to as run’n’gun style. We were doing the visual effects while we were shooting for the most part. Once 80% of the work was already done and the shoot finally came to an end – I felt that a year and a half long engagement and distance from my loved ones tool a bigger toll on me than usual. So, in August 2021 I went back home to Amsterdam to my wife and children (haven’t seen them other then video conferencing due to the bubble), and the post finished in New York led by an in-house crew at Fuse FX. The enduring toll of pandemic shoots is fortunately not here to stay, but it was rough at a time.

However the fantastic crew made it much easier to cope with, especially the on-set team under my supervision that worked long days in the strangest conditions of our lives. I can only thank our VFX producer Alejandro Diego von Dorrer, VFX data wrangler Chris Moore, VFX coordinator Shawn Wayman and VFX editor Sam Rosenberg for their fantastic contribution to otherwise a very complex project.

At the height of the pandemic, in a bubble out in New Mexico, our fantastic cast and crew crafted a truly magical journey. Proud to have been the on-set VFX Supervisor on such a great show, and forever in awe of the talent performances and the magnificent work the entire crew, post team and countless hand-picked vendors around the world delivered. All the previews, all the crazy hours, all the stunts, in-camera resolves and post trickery we came up with were well worth those long months in the high desert. One for the ages.

Aleksandar Sasha Djordjevic

Check out the trailer, first episode airs on April 15th!

Aleksandar talks @ CGA Belgrade 2018

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!


Cover of Advertising Age

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.

Here’s the link to cargo collective page with the cover

Wolf Pack: The Making of The Wolf of Wall Street

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.”

Read the article on this link