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!
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
MPC has in 2016 provided VFX for a number of Super Bowl spots, and I have a mention in the article on CGW.
Link to the article
There is more to post-production then it meets the eye, in this article featuring prominent VFX artists, among which is yours truly.
Follow this link to read the article
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
The go-to portal of the Nuke artists world-wide has published my article on compositing practices.
Click here to go to nukepedia.com and check it out.