Po idejama mog prijatelja Mishka Netchaka,
režisera, realizovao sam kompjutersku animaciju
za televizijski spot i tehničku animaciju za deo
namenskog industrijskog filma, za naručioca iz
Francuske. Modelovao sam u Maji V1.5, a
industrijski deo sam realizovao u 3D Studiju V4.
By the ideas of my friend Mishko Netchak, movie
director, I realized computer animation for
television spots and animation for the industrial
movie, for a French customer. I made 3D models
in Maya V1.5, and I realized some technical
section in 3D Studio V4.
Simmi visit Grandma
Young film enthusiasts Mio and Femi Osewa,
brothers who own a design studio in London, hired
me to write and co-direct the first African
animated feature film, Simmi Visit Grandma. It
was my best and most fun four-month writing of an
original film story in Serbian, translated with the
help of my drugged-up brother Google Translate,
and linguistically polished with WhiteSmoke. The
English were enchanted by the script: both the
characters and the action and the language and
the format. I couldn't translate almost a quarter of
the text back into Serbian, but WhiteSmoke is the
law. Of course, financially bad years came,
including corona and ... nothing with the film.
Only Femi managed to publish an illustrated book
about Simi.
Mladi filmski entuzijasti Mio i Femi Osewa, braća,
vlasnici dizajnerskog studija u Londonu, angažovali
su me za scenario i ko-režiju, prvog afričkog
dugometražnog animiranog filma, Simmi Visit
Grandma. Bilo je to moje četvoromesečno najbolje
i najzabavnije pisanje originalne filmske priče na
srpskom, sa prevodom uz pomoć drogiranog brata
Gugla Translejta, i stvarnim jezičkim poliranjem
BelimDimom. Englezi su bili impresionirani
scenariom: i likovima i akcijom i jezikom i
formatom. Ja nisam umeo da prevedem skoro
četvrtinu teksta nazad na srpski, ali WhiteSmoke je
zakon. Naravno, došle su finansijski loše godine,
zaključno sa koronom i ... ništa od filma. Jedino je
Femi uspeo da objavi ilustrovanu knjigu o Simi.
Frejmovi iz nekoliko kompozitnih televizijskih
spotova u kojima sam realizovao uglavnom
sve, od režije i snimanja, do kompjuterske
animacije i kompozitinga.
Composite frames from several television spots
in which I realized most everything, from
directing and shooting, and computer
animation and composition.
Moj prijatelj Sloba iz Idee +, pozvao me je da, po
sjajnoj ideji Arizanovića, napravim na kompjuteru
"fotose" u-3d-ali-lepše-od-realno-snimljenih, za
reprezentativni kalendar Vojvođanske banke.
Modelovao sam u Maji V2, a fajlove u 8k rezoluciji
renderovao sam u vreme restrikcija električne
energije: 4 sata spavanja ili drugih elementarnih
obaveza, pa 3 sata i 55 minuta renderinga između
dva nestanka struje. Dubinska oštrina je bila
neostvariva jer je rendering trajao više od 4 sata.
My friend Sloba, producer from “Idea +” called me to
make the computer generated "photos" in-3d-but-
better-than-real-recorded, for the representative
calendar for Vojvodina Bank. I made 3D models in
Maya V2, and files in 8k resolution I rendered at the
time of power cuts: four hours of sleep or other such
as obligation and three hours and 55 minutes
between two renderings of a power failure. Depth of
field was unattainable because such a rendering
lasted more than four hours.
Fotosi za inostrani arhitektonski konkurs,
2007. godine. Osvetljavao sam i
renderovao Miličine modele, scenu i
materijal, Majom V7.
Photographs of foreign architectural
competition in 2007. year. I lit and
rendered Milicas models and scene work
in Maya V7.
U Maji sam, po Todovim skicama,
modelovao, materijalizovao i
renderovao dva lika: Petra Pana i
Kralja Artura za pilot projekat buduće
televizijske serije.
By Todd's drawings, for a pilot project
of a future television series, I made
3D models, materialized and rendered
in Maya V7, two characters: Peter Pan
and King Arthur.
Dokumentarni film koji snimam i režiram ovih
nedelja. Mnogo arheoloških istraživanja i
fascinantnih otkrića na krivudavoj stazi od
tajne do istine. Ko je devojka iz Grošnice? Čijih
je metar i četrdeset kostiju na manje od metra
ispod zemlje, više od stotinu godina? Da li su
četnici igrali na vašaru? Ko je spalio novu srpsku
crkvu?
"Devojka iz Grošnice" je mala priča o ljudskoj
veri, ljubavi i patnji.
The documentary that I filmed and directed these
weeks. A lot of fascinating archaeological
researches and discoveries on a curved track from
the secrets to the truth. Who is girl from
Grosnica? Whose is a meter and forty bones in less
than a meter below the ground, more than a
hundred years? Does the Chetniks played at the
fair? Who burned the new Serbian church?
"The Girl from Grosnica" is a small story about the
human faith, love and suffering.
U Maji sam realizovao animaciju i rig za
potrebe interaktivne oftalmološke simulacije
TIO (Techniques of Indirect Opthalmology),
koju u Unity3D programira i realizuje moj
prijatelj Carl, digitalni umetnik i dizajner.
In Maya V2009, I did the rig and animation for
interactive TIO simulation (Techniques of
Indirect ophthalmology), which is
programmed and produced in Unity3D, by my
friend Carl, a digital artist and designer.
"What's on the man's mind" je moj diplomski film,
1985. (35mm, wide screen). Radio sam sve sam,
frejm baj frejm na kopirci, od maketa do
fotografija i žvrljanja po trik stolu. Sonja Savić,
moja drugarica, vratila se iz Pule sa zlatnom
arenom za najbolju glumicu i zamlaćivala se sa
mnom deset dana pred fotoaparatom i raznim
kamerama, sa eksplozijama kreativne energije kao
da joj je to jedini film u životu. Film je prikazivan
na mnogim svetskim festivalima počev od Zagreba
1986., a Sonja je posle beogradske projekcije
cupkala od sreće sa prelepim osmehom na licu.
"What's on the man's mind" is my graduation film,
1985. (35mm, wide screen). I've done everything
myself, frame by frame in rostrum camera, from
models, photos and drawings on the table. Sonja
Savic, my friend, returned from Pula with The
Gold Arena for the best actress and made fun with
me, ten days in front of the camera, and a variety
of cameras, with the explosion of creative energy
as if it is the only movie in her life. The film was
screened at many international festivals from
Zagreb 1986. and Sonja, after Belgrade projection,
hopped with joy, with a beautiful smile.
U Fotošopu sam realizovao tv spot "Montenegro",
po vizuelno bogatoj ideji režisera Miljenka Derete.
Ručnim fotošopanjem sam dizajnirao tv spot "DPS",
za marketinšku agenciju "Partner", a po briljantnoj
ideji "ma, smisli-i-uradi-sve-sam", mog prijatelja
Mladje Mitrovića iz agencije "Inkway", realizovao
sam u Maji V1.5, kompjuterski animirani spot za
ŽTP Beograd.
In Photoshop, I produced a TV spot "Montenegro"
starting from visually rich idea by director
Miljenko Dereta. I designed the TV video "DPS" for
the marketing agency "Partner" and, with the
brilliant idea: "however, think-and-do-it-all-alone",
by my friend Mladja Mitrovic from the "Inkway-
agency" I realized the computer-animated video
for the ZTP Beograd, in Maya V1.5.
Sa dvadesetak statičnih fotosa, u Fotošopu,
3D Studiju i Digital Fusion-u, realizovao
sam (prvi i jedini u životu!), kompletan
kompjuterski animirani muzički spot od oko
4 minuta, za prijatelja Nenada (Bajonea).
With twenty static photographs,
in Photoshop, 3D Studio and
Digital Fusion, I realized (the
first and only in my life!), a
complete computer-animated
music video of about 4 minutes,
for a friend Nenad (Bajone).
Tehničke kompjuterske animacije za
propagandne spotove "Inkway", "My
home", "Profi Foto" i za namenske
industrijske filmove
"Elektrodistribucija" i "Yugo-Zastava
automobili".
Technical computer animation for the
advertising spots "Inkway" "My home"
"Profi Foto" and dedicated industrial
films "Elektrodistribucija" and "Yugo-
Zastava" cars.
Frejmovi iz nekoliko televizijskih spotova
koje sam samostalno realizovao, uglavnom
u 3d Studiju V4, u periodu od 1992.-1995.
godine.
Frames from several
television's spots that
I autonomously
implemented, mainly
in 3d Studio V4, from
1992 -1995. year.
Propagandni film "G-4, Super galeb" realizovala je
1985. godine "Zastava film", za "Soko-Mostar",
najveću fabriku borbenih aviona i helikoptera u
tadašnjoj Jugoslaviji. Bio sam direktor fotografije i
snimatelj. Snimao sam na kolor negativu 16mm,
Arifleksom SR i ST, objektivima od 1.8mm do
600mm. Verovatno je da sam i danas jedini srpski
ili ex-YU civilni snimatelj koga su Laci, Marjan i
Sreta, najbolji vojni, probni piloti, borbenim
avionima G-4 i Orao, "proleteli" kroz sve
akrobacije, od imelmana do kovita, i to nekoliko
puta, od Pule do Batajnice, iznad najlepših YU
zemaljskih prostora. A Boško mi je i prepustio
palicu helikoptera Gazela gotovo deset minuta.
Prostorije pilota sam uništio veštačkim dimom
paljenjem sumpora i izbacio sam jedan borbeni
avion iz upotrebe na nekoliko dana kada sam
nišansku spravu zamenio zašrafljenim Arifleksom
ST sa 30 metara trake. Pilot je, na moj znak sa
sedišta iza, morao sam da uključi i isključi kameru
tokom akrobacija. Film je prikazivan u Farnborou i
u La Buržeu, a Sreta je slupao jednog Galeba pri
sletanju.
Propaganda movie "G-4
Super Galeb," filmed in
1985. by "Zastava film"
for "Soko-Mostar”, the
largest factory of
combat aircraft and
helicopters in former
Yugoslavia. I was
director of photography
and cameraman. I shot on 16mm color negative,
Ariflex SR and ST cameras, lenses from 1.8mm to
600mm. It is likely that I am still the only Serbian
and ex-YU civilian cameraman who "flew" with Laci,
Marjan and Sreta, the best military, test pilots, in
fighter planes G-4 and Eagle, through all the aerial
acrobatics, and did it several times, from Pula to
Batajnica, above the beautiful YU terrestrial space.
Bosko left me to handle gazelle choppers stick
almost ten minutes. I have destroyed pilots room
filming the artificial smoke, released by burning
sulfur, and have sent one combat aircraft to service
for a few days, when I replaced the sighting device
with screwed Ariflex ST with 30 meters of film. On
my mark from the seat behind, the pilot had to turn
the camera on and off for the time of the stunt.
The film was screened in Farnborough and in Paris,
and Sreta crashed one plane on landing.
Bio sam vodja ekipe trik snimatelja i
trik snimatelj u dugometražnom
kompozitnom filmu "Hačipu", režisera
Urliha Keniga.
I was team leader and special effects
cameraman, in feature composite
film Hatchipuh, directed by Ulrich
König.
Pilot animacija za film "Kvinces
krofna", 2005'te godine. Modelovao
sam, animirao i osvetljavao u Maji V7.
Kompozitni rendering je u Maji a
finalni kompoziting sam realizovao u
Didžital Fjužnu V5.
Pilot-animation for the 2005. feature
movie "Quinces Donut" I modeled,
animated and lit in Maya V7.
Composite rendering from Maya and
the final composition I realized in the
Digtal Fusion V5.
Snimio sam dokumentarni film
"Ranko i Snežana" za "FRZ Beograd" i
mog velikog prijatelja i još većeg
producenta, Vida Novakovića. Moj
drugar Radoslav Ognjenović režirao
je ovu dokumentarnu poemu o dvoje
"divova" i divnih ljudi, Ranku i
Snežani, koji, iako slepi, žive život u
njegovoj celosti.
I made a documentary film, "Ranko i
Snezana" to "FRZ Belgrade" and my
great friend and an even greater
producer, Vid Novakovic. My friend
Radoslav Ognjenovic directed this
documentary poem about the two
"giants" and the wonderful people,
Ranko and his wife Snezana, who,
though blind, live life in its entirety.
Frejmovi iz dokumentarnih filmova u
čijoj sam realizaciji učestvovao kao
dizajner i montažer ("Milosrdni andjeo
ubija dobru vilu", režiser Aleksandar
Crkvenjakov), supervizor ("Fikcija
pulpe", režiser Maja Radulović) i
scenarista i režiser ("Millennium bug",
po izuzetnom tekstu mog prijatelja
Slobe Stojanovića).
Frames from the documentary films in
which I participated as a designer and
editor ("Merciful Angel kills a good
fairy" by director Alexander
Crkvenjakov), supervisor ("Pulp
Fiction" by director Maja Radulovic),
and writer-director ("Millennium bug"
based on exceptional text by my
friend Slobo Stojanovic).
Ovih dana (maj 2010.), režiram
(i radim sve ostalo, od snimanja
slike i zvuka, do animacije i
montaže), dokumentarni film
"Kratko pamćenje", po
izvanrednoj ideji mojih
prijatelja iz kuće "Informatika",
i izvanrednom tekstu Saše
Crkvenjakova.
These days (May 2010.), I am
directing (and doing everything
else, from taking a picture and
sound, and editing, to animate),
documentary film, "Short
Memory" by the extraordinary
idea of my friends from company
"Informatika AD" and the
excellent text by Sasa
Crkvenjakov.
Režirao sam (i odradio sve
ostalo zaključno sa beč
renderingom u Maji V4.5,
Fjužnu i Premijeru),
jednominutni animirani,
propagandni film za
najpoznatiju beogradsku
fabriku rasvetnih tela,
BUCK.
I directed, and I did everything
else ended with batch
rendering in Maya V4.5, Fusion
and Premiere, a one-minute
computer animated, advertising
film for the most famous
Belgrade lighting factory, BUCK.
