v i s u a l e f f e c t s

v i s u a l e f f e c t s i n h u n g a r y f r o n t p r o d u c t i o n r e f e r e n c e b o o k

Visual Effects In Hungary front production reference book 2010 Front Production contents All rights reserved. No part of this book may be reproduced in any form in any media without written permission of the copyright owners. Not commercial sample. Use strictly limited to marketing purposes of publisher. Not for resale. Published by Front Production Budakeszi út 51. 1021 Budapest Hungary info@frontprod.hu +36 30 303 9681 www.frontprod.hu Publisher I Csaba Juhász Design I Bettina Tigyi and Csaba Juhász Design consultants I Barbara Krisztics Editors I Barbara Krisztics and Bettina Tigyi Assistant Editors I Ágnes Magyar and Dalma Farkas Data managers I Kriszián Gulyás and András Takács Art Direction I Csaba Juhász 7 introduction 9 company 10 11 full service 12 71 references 14 19 la belle époque I 20 23 Noah's Ark 24 29 dirty fred I 30 35 m&m film I 36 39 dawn 40 45 sacra corona I 46 51 panic I 52 55 chameleon 56 61 adrienn pál I 62 67 dreher 68 71 Mattie the Goose-boy 72 information 74 81 full list of References I 82 84 Clients 85 special thanks First edition: May 2010

from 1998 Introduction 300 projects 150 partners 1500 VFX shots 10 restored arcive movies 100 headlines 20 000 cups of coffee Welcome! You are holding Front Production s reference book in your hands. We are a digital post production house delivering visual effects. This publication, which is also an adventure for us into the world of design, self expression and desktop publishing, aims to give an overview of our most successful projects over the last decade and also highlights services and systems we use. It might serve as food for thought or reference on a meeting but we hope that it also offers an easy and exciting travel to the world of visual effects. We hope that you will find answers to questions as follows: What have we done so far? How was one or the other effect created? Are we able to solve one or the other request? Is it possible to capture the essence of our work on a few pages so that readers get a good understanding of it within a few minutes? Csaba Juhász, CEO Front Production www.frontprod.hu 7

some tasks can cause big headache even if they seem very simple at first sight! company Our company has been on digital post production market for more than ten years. We created the first digital effect in Hungary back in 1998. We are based on the same site as Hungarian Film Lab, the strongest fortress among production and post production companies in Hungary. Thanks to continuous development in cooperation with Hungarian Film Lab we are a complex post production house taking a leading role in the region. Our strength lies in the scale of our services; we provide full scale service including all analogue and digital technologies, hence we can address any needs of film industry and handle even the most complex projects within one facility. An integrated and proven environment that is run by a team of professionals this makes us unique in Central Europe. in many cases it was proven that productions can save money by charging professionals instead of looking for home made solutions. in many cases we were requested to improve quality of home made solutions to have the desired end result. in many cases we were contacted frighteningly close to deadline and were given materials prepared half through. We have solved all these cases with a high level of confidence relying on our expertise since this our job. We are post production professionals. We complete post production works of 15 to 20 Hungarian and foreign movies per year, additionally we have numerous assignments for shorts and advertisements. In many cases we are responsible for all post production works of a movie including design of main title and visual identity, also creation of effects from simple retouches to challenging interferences. We are delighted to contribute to pre-production and cost calculation of projects. In many cases we can significantly reduce costs by finding smart ways to simplify tasks that seem to be really complex at first sight. We also strongly believe that well applied digital effects at well chosen scenes can also be a way of cost reduction. There can be further cost savings achieved by keeping all post production works; from negative developing to production of digital movie copies, in one building. This also saves time as deliveries of copies become unnecessary. It is also important to note that productions that come to Hungary and use the facilities or work with Hungarian partners in coproduction have a benefit of 20% rebate of tax and tax base within the so called Tax Relief System. We believe that small sized post production companies working with a stable team are on one hand effective, on the other hand provide an atmosphere that nurtures creativity. To provide the most cost effective solutions to our clients, size of our team is flexible, tailored to needs of the specific project. This way we can also complete tasks that require a sizeable team because of their complexity. Over the last ten years we have worked with internationally known representatives of Hungarian film industry; Nimród Antal, Krisztina Goda, Miklós Jancsó, Lajos Koltay HSC ASC, Kornél Mundruczó, Pál Sándor, Béla Tarr, Vilmos Zsigmond HSC ASC to name a few. 9

full service Everything at one place UNIque in central europe DIGITAL FILM, DI TELECINE - SPIRIT HD DAVINCI 2K NORTHLIGHT II BASELIGHT FOUR SUITE WITH CHRISTIE 2K DCI PROJECTOR BASELIGHT ONE SUITE WITH JVC HD PROJECTOR ARRILASER DCP MASTERING WITH DOLBY SCC2000 DCP REDRUSHES BETA SP (NTSC ALSO) / DVCAM (NTSC ALSO) HDCAM SR / HDCAM / DIGITAL BETACAM LTO ARCHIVING VFX VISUAL DESIGN MAIN TITLE 3D MODELING 3D TEXTURING 3D LIGHTING 2D & 3D ANIMATION RENDERMAN RENDERING (RENDERFARM) MENTALRAY RENDERING VIRTUAL SET / SET EXTENSION MATTE PAINTING SIMULATION FLUID / CLOTH DYNAMICS RIGIDBODY / SOFTBODY / PARTICLES NATURAL PHENOMENON DEMOLITION EFFECTS CUSTOM EXPRESSIONS SOFTWARE DEVELOPMENT COMPOSITING (RENDERFARM) RESTORATION ARCHIVE FILM RESTORATION SMOKE FINISHING / PRESENTATION CHARACTER SETUP / ANIMATION 2D TRACKING / STABILIZING 3D TRACKING GREENBOX / BLUEBOX KEYING ROTOMASK PHOTOSHOP - 2D (CLEAN)PLATE CREATION EDITING SMOKE/AVID COLOR CORRECTION WIRE REMOVE ADMINISTRATION PREPRODUCTION EDITING AVID MEDIA COMPOSER ADRENALIN WITH DNXHD OPTION (WIN) AVID MEDIA COMPOSER MOJOSD (WIN) AVID MEDIA COMPOSER MOJODX (MAC) AUDIO GASTON STUDIO DOLBY SR / DOLBY SRD / DTS OPTICAL SOUND MWA LLK3 LASER OPTICAL SOUND CAMERA DOLBY SR / DOLBY DIGITAL / DTS NUENDO FILMLAB NEGATIVE DEVELOPING NEGATIVE CUTTING COLOR TIMING POSITIVE COPIES / PRINTS COMMERCIAL COPIES OPTICAL BLOW-UP PROJECION (80 SEATS, DOLBY SRD & DTS) SUBTITLE SPOTTING LASER SUBTITLING LOGISTICS PRODUCTION SERVICE

la belle époque 3 D e n v i r o n m e n t NOAH'S Ark s y n t h e t i c r e a l i t y dirty fred V I R T U A L S E T & S E T E X T E N S I O N m&m film creating visual design references On the following pages you can find a selection of pictures that give a taste of our work Dawn s i m u l at i o n s i t u at i o n sacra corona 3 D a n g e l a n i m at i o n panic v i s u a l d e l i c a c i e s chameleon f u l l s c a l e p o s t adrienn pál PERFECT LOOK dreher producing commercials with PRO staff Mattie the Goose-boy a r c h i v e f i l m r e s to r at i o n 12 13

category I Short film La belle époque 2006 Dor-Ka Media Director I Csaba Szekeres DOP I Máthé Widamon Tóth H.S.C. Producer I Gergely Fodor La belle époque is a thirteen minute short film about Beslan school siege (2004); in name of their fight for freedom of Chechnya, Chechen separatists stormed a school and were holding more than 1000 hostages. The short film focuses on hostage-takers cruelty, to dramatize this strong visual effects were needed. From plaster on the wall we unnoticeably enter into the inside of a body. From inside we see how the bullet reaches the heart and following the blood through the trachea, finally through the mouth we return to reality, i.e. to shot material, from damaged human body to location of hostage drama. In this project we had to address various challenges: liquid simulation, blending of liquids, anatomic modeling, detail-rich texturing, lighting of internal space, merging of real and computer created shots. We set ourselves accuracy of a heart surgeon as a standard as we aimed to create a realistic set for a human drama. The director wanted to tell the story in one single shot without any cut. We made transitions between different camera movements and used enlarged textures to create one single shot and thereby an impressive short film. 3D environment pushing it to photoreal 14 15

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REALISTIC LOOK special fluid simulations blending of fluids I blood sticking I flakes in the fluid at heartbeats RenderMan rendering with interior occlusion 40 render passes anatomical modeling into & back from 3D space seamless between steadicam shots transitions tracking and matching the movements pre-visualization smoothing camera movements & rotations CREDITS VFX supervisor, technical director, compositor, Smoke artist I Csaba JUHÁSZ 3D Maya Artist, Textures I Mátyás Szabó 3d fluid simulation, render management I Attila SZALMA MAIN TITLE, COMPOSITOR I Dániel BARTHA 18 19

category I Noah s ark 2007 Hunnia Filmstúdió Director I Pál Sándor DOP I Gábor Szabó H.S.C. I Gábor Marosi H.S.C. Producer I Pál Sándor syntheticreality THE COST EFFECTIVE SOLUTION 20 We delivered main title and visual effects in this movie; most challenging scene was the final one in that the grandfather rides a Harley Davidson on a road in the pampas accompanied by his dead friend. Director wanted to give the impression that bikers were traveling on the eternal hunting grounds. For this we had to create a dream like atmosphere. Production considered using stock footage, however uncontrollable motion and other details of such material would have made this option too risky. To shoot in Arizona would have been simply too expensive. Finally we used green screen technology with track points for the bikers. Pampas were created with 3D technology, in other words we created synthetic reality. Computer generated landscapes of large scale have always been a challenge for digital studios because of high complexity. To perfectly recreate nature would have been too detail-rich so we had to optimize. After several rounds of optimization we still had to handle and render a 3D model of more than ten thousand elements. We had to pay special attention on making virtual pampas look real both from big and small distance. 21

22 over TEN THOUSAND ELEMENTS numerous DIFFERENT PLANTS i ROCKS i SOILs REPEATLESS large scale GROUND & 3D REPEATLESS ROAD SPECIAL OCCLUSION & SHADOW SOLUTION 5 LAYERS OF 3D CLOUDS i 3D DUST i 3D DISTANT FOG MOTORCYCLE 3d tracking greenbox keying & difficult rotomasks flying from 3d track data & keeping the right angle dust, shadow, occlusion main title design & compositing 50 PASSES IN THE 250 NODE COMPOSITING simulated real camera SHAKING I distortion I lens flares CREDITS VFX supervisor, technical director, compositor I Csaba JUHÁSZ Compositor, production manager I Dániel BARTHA 3D artist, designer I Olivér Auguszt Smoke artist I Antonin Krizsanics 3D pre-visualisation, on stage compositor I Attila Szalma Compositor I Levente BarthA 23

category I pre-production dirty fred 2009 greenworks Writer I P. Howard director I Tamás Sas We were given the thrilling task to build up the set of an entire series in 3D. According to plans the entire series would be shot in front of green screen. Virtual set and set extension was chosen after thorough considerations of both financial and visual aspects. We conducted tests as part of pre-production. The director imagined a misty, tale-like and somewhat grotesque atmosphere. We were provided drawings as a base for 3D modeling. As a test we built up virtual scenes and inserted an actor shot in front of green screen to one of these scenes. We built models and created textures of various objects striving to keep grotesque style of drawings still giving a realistic impression. To achieve the best result we created textures based on high resolution photos of objects and environment. One of the most interesting experiments was to see how the oversized Moon was reflected on a virtual water surface. Taking adventage of RenderMan rendering system we created several effects; lamps drawing stripes of light into wreathing fog, real looking rugged plaster crackles. Closer parts of the scene were more detail-rich whereas further parts were rougher. VIRTUAL SET & SET EXTENSION LOOK & FEEL FOR AN IMAGINARY WORLD 24 25

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RENDERMAN PIPELINE GLOBAL ILLUMINATION & SHADOW BAKING WREATHING VOLUMETRIC FOG & LIGHTS WITH SHADOW RENDERING PASSES KEEPING grotesque style OF DRAWINGS creating TEXTUREs from HIGH RESOLUTION PHOTOGRAPHS HIGH QUALITY DISPLACEMENT MAPS WATER SIMULATION physical interaction with columns MOON REFLECTIONS ON THE WATER GREENBOX KEYING WITH lot of ROTOMASKS RENDERMAN PASSES & Z DEPTH USAGE 28 CREDITS Technical director, 3D artist I Csaba JUHÁSZ 3D artist I András Takács 3D artist, render management I Krisztián Gulyás 29

category I Company id M&M Film 2008 M&M Film Producer I Monika Mécs Sound I Gábor Madarász M&M Film has produced quite a few popular Hungarian movies. Management of the company decided to develop a company ID that could be used before movies, instead of the simple logo they had been using. We were really pleased to work on a task where we could unleash our creativity and appreciated flexible approach of M&M Film. Logo of M&M Film is a lotus flower which is an important Buddhist symbol. Lotus flower was given but not mandatory, we still felt that it was a good basis for a short animation to be widely used. First frames of animation were prepared by an in-house developed DeFocus effect. Among others this effect is able to select highlights and supports high dynamic range processing. Number seven, another important Buddhist symbol also appears in the logo. To emphasize this we developed a seven sided kaleidoscope which created a picture without breaks. We placed the logo into the middle of the flower as the leaf of the lotus symbolizes the fertile earth; the middle of the flower represents the mother's lap and eternal renewal. Creating visualdesign our creativity unleashed 30 31

CREATIVE IDEA extensive COLLECTIon OF MATERIALS UNDERSTANDING THE SYMBOLISM drafting 5-10 BASE IDEAS DESIGN in-house developed defocus in-house DEVELOPED, 7 SIDED KALEIDOSCOPE c++ compositing node plug-in special hilite selection method colored bokeh effect high dynamic range realistic aperture 250 NODE BASED COMPOSITE 7 SIDES WITHOUT BREAKS mental ray rendering SPECIAL SHADERS TO GET COLORED LEAVES HIGH DYNAMIC RANGE COMPOSITING with managing transparency & depth MULTI FORMAT VERSIONS 32 33

34 CREDITS Technical director, designer, 3D artist, render management, compositor I Csaba JUHÁSZ Design consultant I Bettina Tigyi Smoke artist I Krisztián Gulyás 35

category I TV Fantasy Serial Dawn 2008 PCN Film Director I József Sipos DOP I Márk Győri H.S.C. Producer I József Sipos Due to budget restrictions there were only a few simple effects requested for Dawn, a TV fantasy serial. There was one scene however for that a more complex effect was needed; in a valley two characters are escaping from flooding water. At that time we were internally experimenting with liquid simulation systems, so we valued the opportunity to work on a real case and set ourselves especially high standards. Parameters such as quantity and speed of water, splashing, foaming, etc. can be freely set in computer simulation but would be really hard, if at all, to control in reality. To give the impression of big quantity of water, several hundred thousands or even few million particles have to be moved. This requires extensive and time consuming calculation as particles are interacting with each other and also with the environment. After completing first phase of simulation we obtained a set of moving data as particles do not have any surface. In the next phase we added surface to particles. For main water streams we created a certain surface, while for parts of smaller density, e.g. for splashes, we created a different surface with volumetric, foam-like material, again for vaporized water we created a third type of surface. simulation situation imitating nature with hard computing 36 37

WATER SIMULATION MILLIONS OF PARTICLES RenderMan based workflow IMAGE BASED LIGHTING REAL OCCLUSION & DEEP SHADOW PASSES VOLUMETRIC FOAM SHADER CAMERA LENS REACTing WITH WATER ADDITIONAL WATER VAPORIZATION PASSES SCRIPTS FOR FOAM GENERATION & CHANGING BACK TO WATER MAYA PARTICLE EXPRESSIONS to refine some passes in total 150 HOURS FOR SIMULATION STEPS ANOTHER 150 HOURS FOR TEXTURES & RENDERING CREDITS render management, compositor I Csaba JUHÁSZ Fluid simulation I Olivér Auguszt, Csaba Juhász Designer, production assistant I Bettina Tigyi 3D modeler, compositor I Krisztián Gulyás COMPOSITOR I András Takács 38 39

category I Feature film Sacra Corona 2001 Korona Film Director I Gábor Koltay DOP I Emil Novák H.S.C. Producer I Gábor Koltay Digital post production was in its infancy at the time director and producer of Sacra Corona contacted us. In one of the key scenes of the movie he imagined to visualize a dream with help of animation. This became the first Hungarian movie including sophisticated visual effects. Visualization required 3D character animation, including detail-rich simulation of cloth and water drops which was a major challenge for softwares of those days. The fact that it took us two months of multi machine rendering to complete this sequence makes us smile today. Thanks to revolutionary development of post production systems nowadays the same calculations could be completed in one or two weeks with an average PC. For another scene we had to make the battle field look more real by showing the entire army. For financial reasons mass was multiplied digitally. 3 to 20 extras were shot in various costumes and groups in front of blue screen. In the first phase of composition we spread these equestrians in time and space. In the second phase we spread 2D plates of equestrians in 3D, finally these created bulk of the background. We developed a script which spread movements in time. 3D angel animation pioneers of digital post production 40 41

3D CHARACTER ANIMATION CLOTH SIMULATION RAIN DYNAMICS & INTERACtions RENDERMAN RENDERING VOLUMETRIC LIGHTING & FOG SHADOW 3D PRECISE MODEL of the HUNGARIAN HOLY CROWN DIFFICULT ROTOMASKS SPRITE BASED MASS MAIN TITLE DESIGN & COMPOSITING 42 43

44 CREDITS VFX supervisor, compositor I Csaba JUHÁSZ Lead 3D artist I Gergely Vass 3D artists I Szabolcs Horváth, Mátyás Szabó 3D crown model I Dániel Bukovec Compositor, rotomasks I Pál Tauszig Graphic artist, storyboard, rotomasks I Gergely Cziráki Graphic artist I Annamária Tamók 45

category I Panic 2007 Inforg Studio Director I Attila Till DOP I Imre Juhász Producer I András Muhi Opening scene of the movie Panic was a visual delicacy, tracking shot around a woman in front of a mirror. Despite of making a 180 move behind her in front of a mirror, i.e. covering 360 with the camera, no crew was to be seen. We separated the actress and her picture in the mirror from the original background but this way we lost details of her hair. We virtually painted layers of hair and inserted these into the shot. Insertion of details of the hair meant challenges for 2D and 3D tracking. We also had to create a background to be seen in the mirror as a replacement of the original background with the crew. Background followed camera movement, for this we had to create a special tracking method as there had not been any tracking points used at shooting. Furthermore for manipulation of hair and background we had to create a lot of animated masks. Style of visual effect used in this opening scene set the style for all other visual effects of this movie such as the camera rushing through underground cars or the mother s back steaming where the steam was created in 3D. visualdelicacies shot saved with ideas and hardwork 46 47

TRACKING SOLUTION WITHOUT ANY MARKERS PRECISE ROTOMASK FOR actress I actress reflection i replacements FACE AND REFLECTED FACE 3D MATCHMOVE 3D HAIR RENDERS by 3D TRACKS PAINTING HAIR DETAILS 3D SCENE MODELING & 3D ANIMATED ACTRESS FOR STEAM MOVEMENT I COLLISIONS I FORCES PRECISE ROTOMASKS FOR THE ACTRESS & OBJECTS 25 VFX SHOTS MAIN TITLE DESIGN & COMPOSITING 48 49

50 CREDITS VFX Suprvisor, Compositor, Smoke Artist I Csaba JUHÁSZ Smoke artist, finish I Antonin Krizsanics 3D artist, simulations, render management, main title design I Olivér Auguszt Compositor, production assistant I Dániel BARTHA Roto masks, compositor I Csaba Zubonyai 51

category I Chameleon 2008 Megafilm Director I Krisztina Goda DOP I Buda Gulyás H.S.C. I Tamás Babos H.S.C. Producer I Gábor Kálomista Production team of the movie Chameleon involved top professionals of Hungarian film industry. Standards of such a professional team are obviously the highest, thus several effects, refinements, corrections, retouches were requested to have perfect end result.thanks to thorough pre-production we had a deep understanding of our task before starting the work. At post production we were in a favourable situation as editing took place in our studio, this enabled us to continuously harmonize various needs and solutions already at editing phase. There were quite a few displays in the movie into that visual content had to be inserted. We created a different look for each type of display, e.g. TV screen, PC and laptop monitor, hidden camera and mobile phone display. These looks were differing in pixel structures, color correction, dirts and light reflections. An interesting visual effect was needed at the very end of the movie; we had to make the main character disappear. For this shot we had to recreate the background of the main character. We prepared a rough model of the environment in 3D, created the shot without character and spent a few days on preparing manual rotomasks to insert back the actor. full scale post Working with top professionals 52 53

CREDITS VFX supervisor, Technical director, compositor, Smoke artist I Csaba JUHÁSZ Compositor, production manager I Dániel BARTHA Design consultant, production assistant I Bettina TIGYI Smoke artist I Krisztián Gulyás Compositor, 3D artist I András Takács 54 IN TOTAL 160 VFX SHOTS MAIN TITLE CONCEPT & COMPOSITING effective, clear but chiseled look I 40 node composite per title 5-10 design steps to the FINAL CONCEPT FACE RETOUCHES DIFFERENT KIND OF DISPLAYS mobile phone camera i laptop monitor television i computer monitor i web page perspective DISAPPEARING EFFECT 3d tracking i 3d environment modeling i 3d texture projection i precise rotomasks ALTERNATIVE ENDING VFX FOR DVD 55

category I adrienn pál 2010 kmh film Director I Ágnes Kocsis DOP I Ádám Fillenz H.S.C. Producer I Ferenc Pusztai End result refined till perfection this is how we could best describe working on the visual effects of the movie Adrienn Pál. The director paid attention to even the tiniest detail or mistake. On our meetings all digital interferences were examined a few times under magnifying glass to achieve perfect result. In long static shots of few minutes even the smallest mistakes can be spotted, accordingly all our trackings, masks, color corrections, film grain structures, etc had to be perfect. We were set a challenge by sequences of dead bodies that were shot with real people; we had to remove all breathing, swallowing, eye movements and other unavoidable fine movements. Resuscitation and use of defibrillator could not be performed by real actors or actresses, thus digital interference was needed to enhance these sequences. Animation of crows fluttering at the arrival of the tram was another exciting task; individual crows of various behaviors were sitting on the lines forming a mass as they flew out of the picture. Further effects included seamless transition between two shots of different camera movements. Perfectlook every nicety counts 56 57

A LOT OF DIFFERENT BEHAVIOR 555 CROWS 3D CHARACTER ANIMATION & DYNAMICS MASS BEHAVIOR SCRIPT DRIVEN TURNING OF CROWS Z DEPTH COMPOSITING MULTIPLE KEYER BASED KEYING TREES DEFIBRILLATOR DISPLAYS DEAD PEOPLE RETOUCHES 8-12 DIFFICULT RETOUCHES PER SHOT CHANGING EYE I MOUTH I FACE I COMPLETE BODY OTHER RETOUCHES, CORRECTIONS 58 59

60 CREDITS vfx supervisor, compositor, 3D artist I Csaba Juhász VFX project manager I Péter Závorszky Smoke artist, compositor I Krisztián Gulyás Compositor, 3D artist I András Takács 2D artist I Barbara Krisztics, Bettina tigyi 61

category I TVC Dreher 2009 Dreher sörgyárak zrt. Director I Krisztina Goda DOP I János Vecsernyés H.S.C. client I DREHER Agency I JWT Budapest production company I film positive Extremely short deadline set us a real challenge in this project. Experience of crew members and thorough preparations helped us to meet the deadline. Discipline in following storyboard and pre-production agreements was another important condition for us to finish on time. Few small scale retouches and packshot were the easiest bits of post production tasks. To create seamless visual transitions between shots was more complicated. According to the visual idea of the adverisement a bottle of beer is placed from one frame to the other in eye catching ways. Thanks to experience of crew members blue screen shots were well keyable. In such cases setting accurately the bluebox keying is essential to avoid that foreground becomes damaged and to ensure that blue areas have correct transparency, similarly to ensure that transparency of liquids and glasses is kept. We had to pay special attention to keying of the glasses as our eyes recognize glass material but we immediately spot falseness if fine details are missing. Furthermore we must see details of background in the glass distorted based on principles of light fraction so that our eyes are misled and we believe what we see. producing commercials with PRO staff when everything goes as planned 62 63

spectacular VISUAL TRANSITIONS KEYING OF SENSITIVE & SEMI-TRANSPARENT AREAS OF GLASS & BEER multiple keying passes USED FOR A SINGLE SHOT ADDITIONAL KEYING TO BRING BACK DETAILS 50-70 NODE COMPOSITING PER TRANSITION creating PANORAMIC TEXTURE using 4 shots BACKGROUND REFRACTIONS TO THE GLASS REFLECTIONS ON THE TABLE AT THE PUB SCENE FULL HD WORKFLOW & BIG SCREEN PRESENTATION 64 65

66 CREDITS Technical director, compositor, Smoke artist I Csaba JUHÁSZ Production assistant I Bettina Tigyi Compositor, rotomasks I András Takács Smoke artist, compositor I Krisztián Gulyás 67

category I HUNGARIAN ARCHIVE FILM Mattie the goose-boy 2005 hungarian national film archive Director I Kálmán nádasdy, László radnóty DOP I Barnabás hegyi Producer I Vitéz Miklósné Mattie the Goose-Boy is a truly Hungarian story written by Mihály Fazekas in the early 18th century. The movie itself was the first Hungarian color movie produced in 1949. After fifty years raw material of the film was severely damaged. 98% of colors of nitro negatives had been lost, furher signs of damage were 1-2% shrinkage, damaged perforation, traces of chemicals and glue, tears, few missing frames. Already in the 50 s it was impossible to produce color copy of the movie using traditional laboratory technology, that s why management of Hungarian National Film Archive decided to digitally restore the material. Digital restoration took a full year including six months of digital picture restoring. After manually cleaning the raw material we scanned the material using a scanner that we had developed in-house. We started the next phase by improving and restoring colors with help of software that we had also developed in-house. After digital cleaning and correction of typical archive damages we manually restored colors by masking and modifying. We worked for several months on the manual color restoration. ARCHIVEFILM RESTORATION A WONDER OF DIGITAL TECHNOLOGY 68 69

6 MONTH PROCESS SEVERAL RESTORATION STEPS physical cleaning color gaining & transforming restoration of flickering, dusts, scratches, instability & noise rotomasking color correction pipeline di colorist giving final look in-house developed & STANDALONE color restorer software in-house developed filmscanner SOFTWARE & HARDWARE CREDITS VFX project manager I Balázs Schifter Technical director, lead developer I Csaba Juhász Developer, rotomasks I Róbert Csík Rotomasks, compositor I Attila Szalma, Mátyás Szabó MAIN TITLE RESTORATION 70 71

information On the following pages you can find information from our database full list of references 2 0 0 1-2 0 1 0 clients d i r e c to r s, d o ps, p r o d u c e r s special thanks 72 73

references 2010 czukor show Director I Tamás Dömötör DOP I Máté Tóth Widamon Producer I Ferenc Pusztai, Inez Mátis PRESSZÓ 10 ÉV Director I Tamás sas DOP I Márton Miklauzic Producer I Attila Faragó, Tamás SAS így, ahogy vagytok Director I Károly Makk DOP I Gábor Medvigy Producer I András Ozorai Pál adrienn Director I Ágnes Kocsis DOP I Ádám Fillenz Producer I Ferenc Pusztai talán EGY MÁSIK ÉLETBEN Director I Elisabeth Scharang DOP I Jean-Claude Larrieu Producer I Dieter Pochlatko, Nikolaus WISIAK Morgen Director I Marian CriŞan DOP I Róbert Köteles, Tudor MIRCEA Producer I Anca Puiu czukor show Director I Tamás Dömötör DOP I Máté Tóth Widamon Producer I Ferenc Pusztai, Inez Mátis így, ahogy vagytok tv main title Director I Károly Makk DOP I Gábor Medvigy Producer I András OzoraI 2009 így, ahogy vagytok Director I Károly Makk DOP I Gábor Medvigy Producer I András OzoraI látogatás Director I Róbert Pejó DOP I Gergely POHÁRNOK Producer I Andreas HRUZA, Erich LACKNER 41. magyar filmszemle logo animation PRODUCER I Gábor GARAMI A Zöldsárkány gyermekei Director I Bence Miklauzic DOP I János Vecsernyés Producer I József Berger a SÍRÁSÓ Director I Sándor KARDOS DOP I Sándor KARDOS Producer I András muhi Adás Director I Roland VRANIK DOP I Gergely POHÁRNOK Producer I Gábor KOVÁCS, Ági PATAKI Oda az igazság! Director I Miklós Jancsó DOP I Nyika Jancsó Producer I József Berger Utolsó jelentés Annáról Director I Márta Mészáros DOP I Emil Novák Producer I Pál Sándor 1 Director I Pater Sparrow DOP I Máté Tóth Widamon Producer I Zoltán Kamondi David and Kamal Director I Kikuo Kawasaki DOP I Itamar Hadar Producer I Fuminori Hayashida, Mike Cline Kentaur archive film Director I Tamás Szentjóby DOP I János Gulyás Writer I Tamás Szentjóby The Chosen One Director I Rob Schneider DOP I Kees Van Oostrum Producer I Joe Q. Bretz, Boon Collins, Scott Dolezal Szuperbojz Director I Barna Kabay DOP I Tibor Máthé Producer I Barna Kabay Utolsó jelentés Annáról Director I Márta Mészáros DOP I Emil Novák Producer I Pál Sándor Köntörfalak Director I Zsombor Dyga DOP I Gábor Marosi Producer I György Durst, István Major Dreher commercial Director I Krisztina Goda DOP I Buda Gulyás production company I Film Positve Company agency I JWT client I Dreher Sörgyárak Zrt. Hitvallók és Ügynökök documentary Director I Katalin Petényi DOP I Péter Jankura Producer I Barna Kabay Svik Director I Haakon Gundersen DOP I Hans Kristian Riise Producer I Haakon Gundersen The Chosen One Director I Rob Schneider DOP I Kees Van Oostrum Producer I Joe Q. Bretz, Boon Collins, Scott Dolezal Második jelenlét archive dokumentary Director I Miklós Jancsó DOP I János Kende Dirty Fred preproduction Director I Tamás SAS The Loners Director I Renen Schorr DOP I Renen Schorr Producer I Assaf Amir Kaméleon DVD Extra Director I Krisztina Goda DOP I Buda Gulyás, Tamás Babos Producer I Gábor Kálomista A hetedik kör Director I Árpád Sopsits DOP I Márk Győri Producer I Pál Sándor Az aranyember archive film Director I Béla Gaál DOP I István Eiben Producer I Lajos Hirsch, Imre Tsuk Goda Krisztina showreel 2009 showreel dvd Director I Krisztina Goda superdigital short movie Director I István MADARÁSZ DOP I Gábor MAROSI Producer I István MADARÁSZ 2008 1 Director I Pater Sparrow DOP I Máté TÓTH Widamon Producer I Zoltán Kamondi Delta Director I Kornél Mundruczó DOP I Mátyás Erdély Producer I Viktória Petrányi Dimarson commercial Egykéthá short movie Director I Balázs Krasznahorkai DOP I Mátyás Erdély Producer I Ferenc Pusztai Eszter hagyatéka Director I József Sipos DOP I Franciscó Gózon Producer I József Sipos Every Breath You Take Director I Igor Sterk DOP I Simon Tansek Producer I Danijel Hocevar Papírkutyák Director I Bence Gyöngyössy DOP I Tamás Sas Producer I Barna Kabay Gyengébb napok Director I Ádám Császi DOP I András Gábor Szőke Producer I László Kántor Hitvallók és Ügynökök documentary serial Director I Katalin Petényi DOP I Péter Jankura Producer I Barna Kabay Hitvallók és Ügynökök Director I Katalin Petényi DOP I Péter Jankura Producer I Barna Kabay Hyppolit, a lakáj archive film Director I István Székely DOP I István Eiben Producer I Albert Samek Kaméleon Director I Krisztina Goda DOP I Buda Gulyás, Tamás Babos Producer I Gábor Kálomista 74 75