Curriculum Vitae

Software knowledge:

Maya, Unreal Engine, Blender, Davinci Resolve-editing, Premiere, Flash, Toon Boom ANIMATE Pro, Toon Boom STORYBOARD Pro.

Languages:

Hungarian, Romanian, English, Spanish (Advanced), German, Mandarin Chinese ( Intermediate)


 Employment History:

3D:

2024-Senior Previs Artist, Ink-and-Light

2023-Senior Previs Artist, Jellyfish Pictures

2022-Senior Previs Artist, Wild Child Animation

2021-Lead Cutscene Designer for Game Cinematics, working with mocap data.

2019-2020 Senior Previs/ Final Layout on "My Little Pony G5"

2018 Cinesite,Vancouver  -Previs and Layout on "The Addams Family"

2017 Cinesite, Vancouver - Final Layout on Guillermo del Toro's  "Trollhunters"

2017 Cinesite, Vancouver  -Previs and Layout on Proof Of Concept projects "Extinct", "She Loves you" and "Harold Lloyd".

2014/2016 Nitrogen Studios- Previs and Layout artist on the movie "Sausage Party", followed by Final Layout (scene prep for lighting and compositing).

2D:

2013 Wunderwerk, Munich Germany-   Layout Supervision "Wilde Kerle"

2010/2011 Wunderwerk/Caligari. Director on animated Children´s TV series"Prinzessin Lillifee". Based on location in Halle, Germany. Animatics, all pre-production material approval, Animation and Compositing check, Final cut and Mix supervision.

2009/2010 Trickompany Film Productions, Hamburg, Germany. Overseas supervision in Chennai-India, for "WERNER 5" feature 

Following this task I was also doing colour approvals in Hamburg, checking and approving the retake work of other subcontracting studios from a total of five Asian studios.

2008/2009 NDF/Caligari, Munich, Germany.  Overseas supervision for "Princess Lillifee" feature film, in Shenzhen, China

2007/2008 Motionworks GmbH, Halle, Germany.  Clean-Up work for turnarounds, followed by overseas supervision for "A case for friends" feature film,  in Suzhou, China

2006 Trickompany Film Productions, Hamburg, Germany. Clean-Up work for turnarounds, followed by overseas supervision for "Das Doppelte Lottchen" feature film,  in Suzhou, China

2005 Trickompany Film Productions, Hamburg, Germany. Clean-Up work for model pack, followed by overseas Supervision for the movie "Dieter-Der Film" feature film, in Suzhou, China

2003 Trickompany Film Productions, Hamburg, Germany.  Overseas supervision work in China for the movie "Werner IV" and preproduction work including clean-ups for turnarounds/model pack.

2001 Trickompany Film Productions, Hamburg, Germany.  Character development, turnarounds and Sound breakdown in Magpie software for TV series "Karlsson on the roof"

2000 Trickompany Film Productions, Hamburg, Germany.  Overseas Clean-Up supervisor for feature film "The Ottifanten" in Taipei, Taiwan

1999 Trickompany Film Productions, Hamburg, Germany.  Overseas Clean-Up supervisor for feature film "Kapt’n Blaubar in Taipei", Taiwan

1998 Energee Entertainment, Sydney, Australia.  Layout, animation checking, animation, set design, digital BG’s for TV series "Crocadoo", Character design, set design and Layout for feature film "The Magic Pudding"

1998 Hahn Film, Berlin
Overseas Animation supervisor for test TV series "Wildlife" in Seoul, South Korea

1997 Wegelius T.V. Animation, Stockholm. Layout, Character Design and Storyboarding for tv series "Three friends and Jerry"

1997 Trickompany Film Productions, Hamburg.  Overseas Clean-Up supervisor for feature film "Pippi Longstocking" in Taipei, Taiwan. Overseas clean –up commercial supervisor in Madrid.

1996 Trickompany Film Productions, Hamburg. Character Clean-Up on two feature films "Werner 2"and "Kleines Arschloch"

1994/1995 Eurocartel Studio-Budapest
Character Clean-Up on two feature films, "The Pebble and thePenguin" and "All Dogs go to Heaven 2"





The mixing sessions that I had to attend for all the Episodes took place in this very room (below). It was especially important for me to attend these, as when we started the sessions, about 40% of the Animation and Compositing was still in retake (!!)  We had to start mixing with unfinished material, basically the latest updated Leica. This of course can be very confusing for a professional mixing team. The Studio was under tremendous time pressure, we didn't have the luxury to go back to our tracking system to check each retake note, but since I was involved with checking and approving work from all departments, I remembered also the retakes on the particular scenes. This has speeded up things a lot.

                                    
 



 
Traditional Clean-Up: 

                

..and this is how we used to do it a few years back. These blue folders in a studio in China represent an entire Feature film, and each drawing in each folder was checked by me, as well as each scene's line test.  For following model sheets, Layer order in X-sheets, respecting volumes and perspective, line quality,  overlapping actions, lipsynch and possible mistakes from animation such as sliding feet or Hook-Up problems, as this was the last stage we could adjust artwork before the scanning started for the paint and compositing department.
In those days the retakes were written directly on the top of the folders, and I used to have lots of paper cuts on my hands from rolling the drawings on the peg bar.  Each folder could tell a story as they often were handed out to freelancers who did not work on the premises.  Some had coffee spilled over them, some had corpses of cockroaches or mosquitoes flattened, some had massive foot prints on them, and some had mud spatters. The smell also varied from folder to folder.  Good old days.                  2005

 

Surrounded by part of the wonderful team I supervised in Chennai, India.  

2010