2024 International VFX and GD Conference Bratislava

IVGC Bratislava 2024 - Transformations of visual effects V

IVGC is a two-day international conference organized by the Department of Visual Effects and Game Design of the Film and Television Faculty of VŠMU every year in April, which is the 11th continuation of the activities of the VFX Department in the search for the development of visual effects and the 5th continuation, which strives for an international level of interpreted scientific knowledge. It takes place at the same time with face-to-face and remote student meetings through a video conference connection with the MS Teams program.

This year, the IVGC will take place on April 18-19, 2024.
The conference is intended primarily for students of study programs in VFX and GD schools operating in the European area, but also for external amateur or professional those interested in a domestic and international context.
The language of communication is English.
The task is to introduce the participants, create prerequisites for future collaborations and inform not only the participants, but also any interested parties about the current level of VFX and GD in the European area.

The conference is supported by the KEGA Slovakia grant, while the event aims at international cooperation between the 8 universities of Europe FilmEU+.

The presentations are recorded in the TEAMS program and the conference is streamed live on the You Tube channel with a 360° camera.
Subsequently, after editing, the individual video contributions are shared via the WEB pages: www.avfx.sk, www.ahd.avfx.sk and via the websites of participating foreign schools. Presentations are available to the general professional public.
A supplement to the conference is the realization of an electronic written document Proceedings of the IVGC 2024, which is a written visual capture of the individual presentations of both conference days. The Proceedings also include contributions that were not heard at the videoconference presentations, but are an important insight into the professional-pedagogical environment of VFX and GD in the world.

1st day: Graduate students presenting topics:

1. Marian Ferko, VFX department of VSMU, Slovakia.
    Organizing Life and Work Duties.
2. Filip Matlák, VFX department of VSMU, Slovakia.
    Creation of CG Characters.
3. Šimon Macháč, VFX department of VSMU, Slovakia.
    Environment Creation.
4. Matúš Menke, VFX department of VSMU, Slovakia.
    VFX Can be Done "Without Money". How to Start for Free.

5. Mari Gallet, Howest University of Applied Sciences - Digital Arts and Entertainment, Belgium.
   Theoni Fotoglou, Howest University of Applied Sciences - Digital Arts and Entertainment, Belgium.
    Creation of a Giant.

6. Sacha Deen, Howest University of Applied Sciences - Digital Arts and Entertainment, Belgium.
    Dayell de Graaf, Howest University of Applied Sciences - Digital Arts and Entertainment, Belgium.
    Behind AMBER: Creating Designs, Unreal Workflow and Team Dynamics

7. Afonso Cunha, Lusófona University, Lisbon, Portugal.
    António Rodrigues, Lusófona University, Lisbon, Portugal.
    Henrique Monteiro, Lusófona University, Lisbon, Portugal.
    Júlia Costa, Lusófona University, Lisbon, Portugal.
    Ricardo Louro, Lusófona University, Lisbon, Portugal.
    Games Creator Club case study: a creative realm for game development

8. Tiago Berlim, Lusófona University, Lisbon, Portugal.
    Madalena Cagido, Lusófona University, Lisbon, Portugal.
    José Reis, Lusófona University, Lisbon, Portugal.
    From Concept to Reality: The Journey of Shades of Insanity and Deep Blue Dive

2nd day: Professionals presenting their topics:

1. Tobias Frühmorgen. Filmmaker, researcher and film lecturer, Germany/Portugal.
    Machine Acts – Collaborative Screenplay Writing with GPT-4.

2. Víctor Manuel Navarro Remesal. Professor of Philosophy at Tecnocampus, Universitat Pompeu Fabra, Mataró, Barcelona, Spain.
    Video Games as Animation: Conceptual Approaches to the Animatic.

3. Wilson Rodrigues De Almeida, Teacher at the University of Lusófona, Lisbon, Portugal.
    Out of Line - Puzzle Design Process.

4. Nikoleta Wood. VFX coordinator in London, England.
    The Economics of VFX: From Concept to Delivery.

5. Pieter Van Houte. Digital Compositor, Supervisor and Visual Effects Artist. Belgium/Canada. Face-to-face presentation.
    28 years later. Overview of Career, from Traditional Animation Studios to Visual Effects and What is Happening Right Now in the Field with More Decentralised Work and the Potential Disruptions of AI.

6. WORKSHOP - Pieter Van Houte (Belgium/Canada), Nikoleta Wood (England), Michal Šabík (Slovakia). Face-to-face presentation.
Overview of Career, from Traditional Animation Studios to Visual Effects and What is Happening Right Now in the Field with More Decentralised Work and the Potential Disruptions of AI.

BIO:

Tobias Frühmorgen (Germany/Portugal)

As a film lecturer, he teaches in Creative Production and European Film Heritage, and project tutoring and thesis supervision at Lusófona University Lisbon (PT) for the European Master Program KinoEyes (PT_UK_EE_IRL) as well as the Master Film Studies and Cinema Bachelors and Green Production / Green Consultant. He also works in exchange programs like Looking China (PT_CN_KOR_RU_HU_BRA) and research programs like Crescine (PT_LIT_BEL_CRO_IRL), Filmterm (EE_FI_DE_PT), future.film.education (DE_HU_PT), C-Accelerate (FI_PT_BEL_EE), Cyanotypes (DK_PT_IRL_AUT_NL_CZ_DE), and FilmEU Research-Innovation-Transfer (EU). Since 2020 he is also part of the curriculum, pedagogy and artistic research development of the European Universities Alliance for Film and Media Arts – FilmEU and FilmEU+ as well as project supervisor for a yearly pilot and coordinator for the joint research project (PT_BE_EE) on Screenwriting and GTP-4. Since 2021 he has been researching on his artistic based PhD at the Filmuniversity Babelsberg (DE) on “Artistic Artificial Intelligence – Writing a screenplay with AI“.
His artistic works as a director and/or editor include a variety of feature films, short films, television, art and music videos. His film Menschenkörper (2004) was screened at more than 25 festivals worldwide. Among his editing works is the restoration and re-editing for Yilmaz Güney‘s YOL – The Full Version (2017) which premiered at Cannes Film Festival 2017.
Tobias also works a story analyst for international feature screenplays and is a certified Green Consultant for film productions.

Víctor Manuel Navarro Remesal (Spain)

Víctor Navarro-Remesal is game scholar from Tecnocampus, Universitat Pompeu Fabra (Barcelona, Spain). He is a founding member and the president of DiGRA Spain and the co-president of the History of Games conferences. His last book as an editor is ‘Perspectives on the European Videogame’ (Amsterdam University Press, 2021). His research interests include player freedom, Zen-inspired games and slow gaming, regional game studies, and game preservation. He has taught Animation Cinema for years and collaborates as a critic of the medium in several radio stations and magazines. Currently, he’s one of the two Principal Investigators of the project Ludomythologies: Myths and ideology in contemporary video games.

Nikoleta Wood (England)

Nikoleta is an experienced VFX Production Coordinator based in London, originally from Presov, Slovakia, who thrives in the dynamic realm of visual storytelling. After completing an exchange program in the US, she moved to London to study film and eventually earned a Masters in Production Management from the National Film and Television School.
She has a proven track record of bringing compelling film and TV projects to life — all while managing the intricacies of production with a genuine love for spreadsheets. She’s had the privilege of working with industry-leading studios such as Apple Originals, Netflix and Amazon Studios, as well as collaborating with world-class directors like Steve McQueen and Alfonso Cuaron.

Wilson Rodrigues De Almeida (Portugal)

With a degree in Digital Animation from Universidade Lusófona (UL), Wilson Almeida began his career as a 3D artist in the cross-media project “Mourinho and the Special Ones” in 2012. He pivoted to Game Design and has worked on PC, console, and mobile games, while working for several studios such as Bica Studios, Nerd Monkeys, and ONTOP Studios. In 2014 he began coordinating the Game Dev Meet event and ever since that experience he has been an active member of the Portuguese game development community as an organizer of several other events, in collaboration with multiple companies, higher education and research institutions, namely Microsoft, Miniclip, IST, UL and the Champalimaud Foundation. He teaches Game Design at Universidade Lusófona.

Pieter Van Houte (Belgium)

Co-Founder at RealmFX inc. Digital Compositor, Supervisor and Visual Effects Artist with a background in traditional animation and film making.
Experience in a broad range of projects, from commercials, educational and short films to feature film and animation both as artist and supervisor. Huge soft spot for artistic endeavours and classical animation. Specialties: Compositing, 2D and 3D animation, Visual Effects, Project Co-ordination, Supervision.
https://ca.linkedin.com/in/pietervanhoute
https://www.avfx.sk/en/pieter-van-houte-guest-ivgc-2024

https://www.steakunderwater.com/wesuckless/viewtopic.php?t=140
https://www.uptotenheavier.com/08_LC_MO/LC_MakingOf.html

Marian Ferko (AVFXGD, Bratislava)

He studied at the Secondary School of Performing Arts in Bratislava, later obtained a Bc. degree at the AVFX FTF VŠMU. From 1993 to 1995 he worked for Gratex International, where he created many television soundtracks and commercials. He also created the music video The Ballad of Four Horses for singer Peter Lipa, for which he won the Music Video of the Year award. In 1996 and 2007 he co-founded Cauldron and Top3Line studios focused on professional production of computer games. From 2015 to 2020, he worked at Bohemia Interactive as a managing director. In 2015 he co-founded the Slovak Game Developers Association, where he became the chairman of the association. In 2020, he co-founded Nine Rocks Games. Over time, he collaborated on the development of 26 digital games.
https://www.mobygames.com/person/272119/marian-ferko/credits/
https://scd.sk/hra/quadrax/https://www.avfx.sk/pouzivatel/ferko-marian-0

Filip Matlák (AVFXGD, Bratislava)

Student of the first year of the master's degree in visual effects at the FTF VŠMU in Bratislava.
He graduated from the department of animated creation at SUP Trenčín and subsequently obtained a B.c. degree in the study plan visual effects at FTF VŠMU in Bratislava. Currently, in addition to studying and creating visual effects, he works as a 2D compositor and 3D generalist in the PFX studio.
https://www.avfx.sk/pouzivatel/matlak-filip

Šimon Macháč (AVFXGD, Bratislava)

He studied advertising at the high school of art in Trenčín, later he received a Bc. degree at AVFX FTF VŠMU. Since 2018, he has been working as an independent designer, photographer and graphic artist. In the film industry, he mainly works with compositing and color grading. He is currently working as a freelance artist for various Slovak and foreign productions.
https://www.avfx.sk/pouzivatel/machac-simon
https://www.artstation.com/imonm9
https://www.instagram.com/moriturite_salutant/
Bachelor project
https://www.avfx.sk/media/4940

Matúš Menke (AVFXGD, Bratislava)

Student of the first year of the master's degree in visual effects at the FTF VŠMU in Bratislava.
Since childhood, he has been fond of digital art, creating illustrations and graphic design, thanks to which he gradually got into video production, film and the creation of visual effects. He graduated from the field of image and sound technology at the Karol Adler University of Applied Sciences in Bratislava. Here he strengthened his technical skills in the creation of audiovisual content and subsequently obtained a Bc. degree in the study plan visual effects at FTF VŠMU in Bratislava. Currently, in addition to studying and creating visual effects, he mainly focuses on filming and post-production of advertising content.
https://www.avfx.sk/pouzivatel/menke-matus

Mari Gallet, (Howest University of Applied Sciences - Digital Arts and Entertainment, Belgium.)

Mari Gallet is currently finishing their studies at Howest DAE, Belgium, after working on a short film graduation project together with Theoni Fotoglou for a bit over 4 months.
Mari grew up in a very creative family in Belgium, who nurtured their love for drawing from a very young age. They attended a traditional art high school where they learned traditional techniques, and then later continued their studies at Howest DAE. Now, they're setting their first steps as a Concept Artist in the entertainment industry.
https://www.therookies.co/u/MariGallet
https://www.artstation.com/marigallet

Theoni Fotoglou, (Howest University of Applied Sciences - Digital Arts and Entertainment, Belgium.)

Theoni Fotoglou is currently finishing their studies at Howest DAE, Belgium, after working on a short film graduation project together with Mari Gallet for a bit over 4 months.
Theoni grew up in a small Greek town, struggling to find her niche in her home country. Moving to Belgium and study at Howest DAE was what lead to her falling in love with the 3D animation and gaming Industry. She found many passions when studying DAE, from character design to rigging, and 3D Character creation and ultimately securing an internship as a 3D Artist where she is excited to continue learning and growing in the field.
https://www.therookies.co/u/TheoniFotoglou
https://www.artstation.com/theonifotoglou

Sacha Deen (Howest University of Applied Sciences - Digital Arts and Entertainment, Belgium)

Sacha is currently finishing her studies in visual effects at Howest DAE in Belgium.
As a compositor, her area of expertise is integrating CGI into filmed footage, doing background replacement with keying and using tracking to paint and cleanup. She spent her weekends attending art school as a hobby. She eventually switched from studying chemistry to a course that allowed her to be more creative. At the moment she’s completing an internship at VC Studios, delving into all the various aspects of compositing.
www.linkedin.com/in/sachadeen
https://sachadeen.artstation.com/ 

Dayell de Graaf (Howest University of Applied Sciences - Digital Arts and Entertainment, Belgium)

Dayell de Graaf is currently finishing his studies at Howest DAE, Belgium, after working on a short film graduation project together with Sacha Deen for a bit over 4 months. With a background in science and engineering, Dayell changed directions and started heading towards the more creative world of visual effects. Currently interning at a Virtual Production studio, he is immersing himself in the realtime capabilities of Unreal Engine for film and TV.
www.artstation.com/dayellcolin
linkedin.com/in/dayell-de-graaf

Afonso Cunha (Lusófona University, Lisbon, Portugal)

Stemming from frequenting a previous engineering bachelor, a fermenting disgust with the idea of not doing something that would fulfill his future self, incentivized him to join GameDevTecnico - a gamedev student club. By reviving long gone artistic interests and taking gamedev as a now serious and viable career path, he later enrolled as a student at the Universidade Lusófona’s Bachelor in Videogames. Now having a new and improved skillset, still learning the most he can about other software and mediums, yet with an eternal and special love for Pixelart (especially Character Design and Animation), for him, the idea of working could not be any funner.

Henrique Monteiro (Lusófona University, Lisbon, Portugal)

Henrique Monteiro is currently midway through his studies in the Bachelor of Video Games program at Lisbon University. Despite initially considering a career in history and education, Henrique's profound love for video games has steered him towards a different direction. Throughout his academic journey, he has been deeply involved in exploring the diverse realms of game development, particularly focusing on game art, game design and narratives.

Júlia Costa (Lusófona University, Lisbon, Portugal)

Now finishing her first year at Universidade Lusófona's Bachelor in Videogames, she learned a lot of new skills and gained experience participating in various game jams with her friends. She's passionate about all aspects of game dev, despite not having all the skills she's willing to learn and cooperate with others to achieve her goals. At the moment she's focusing on learning more and more about programming, more specifically Unity/C#, and has created some small projects alone and with friends that you can see in her itch.io
https://juhxx-x.itch.io

António Rodrigues (Lusófona University, Lisbon, Portugal)

Took part in two computer science courses before, where he made games as projects for both. Driven by a strong enthusiasm for gaming and programming, full of creativity but lacking in artistic skills, he chose game development as his creative outlet. Now in the second year of Universidade Lusófona's Bachelor in Videogames, learning more and more about game dev, his passion only grows stronger by the day.

Ricardo Louro (Lusófona University, Lisbon, Portugal)

Having originally enrolled university for a journalism course, he quickly understood that he would require a more creative area to work in. Stemming from a lifelong love for videogames, he decided to pivot into the Universidade Lusofona's Bachelor in Videogames in order to create experiences that others may enjoy. Currently attending the second year of said course, he is specializing in programming and creating various projects to deepen his skillset.

José Reis (Lusófona University, Lisbon, Portugal)

José Reis, a graduate of Computer Games and Programming Skills from Lusófona University in Lisbon, has a passion for programming and is always ready to embrace new challenges. At CapyDigital he has helped develop some award winning projects such as "Booby Trap" and "The Call". He is currently working on "Shades of Insanity" and "Deep Blue Dive".

Madalena Cagido (Lusófona University, Lisbon, Portugal)

Madalena, a graduate of Computer Games and Programming Skills from Lusófona University in Lisbon, is a versatile 2D Artist at CapyDigital, an indie studio fueled by ambition and creativity. With a proven track record in game development, she has worked on various projects from 2D to VR games, earning recognition through awards nominations and fostering partnerships with local companies.

Tiago Berlin (Lusófona University, Lisbon, Portugal)

Tiago Berlim, a graduate of Computer Games and Programming Skills from Lusófona University in Lisbon, is a skilled 3D artist at CapyDigital. With expertise in modeling, texturing, and animation. He has hands-on experience with the Unity Game Engine and excels in Object, Environment, Lighting and Character modelling. Collaborative by nature, he works closely with other departments such as programming and design to ensure consistency and quality across games. With several online projects such as "Towers Call", "Booby Trap", "Alterpoint", and "CyberBreak". He is currently focused on "Shades of Insanity" and "Deep Blue Dive".

ABSTRACT

Tobias Frühmorgen (Germany) - Machine Acts – Collaborative Screenplay Writing with GPT-4

“Machine Acts – Collaborative Screenplay Writing with GPT-4” an artistic research project within FilmEU European University that investigates the artistic impact of Deep Learning methodologies on the audiovisual industry, particularly of GPT-4, to produce a “satisfying” output in the form of a screenplay by human storytellers and AI. But what will be the role of each player? While the results look impressive at first sight on an aesthetical level, the question arises: Can machine really produce more than "statistical patterns” (Marcus, 2022) or act as “stochastic parrots” (Bender, 2021), but create meaningful stories? As "sufficiently advanced mimicry is virtually indistinguishable from intelligent behavior" (Millière 2023), an intriguing question emerges: Why should we place our trust in a machine to narrate human stories when such an entity lacks corporeal form, sensory experience like smell, and any firsthand experience of life, given that its learning is trained only on texts?

Víctor Manuel Navarro Remesal (Spain) - Video Games as Animation: Conceptual approaches to the animatic.

Video games are a hybrid media that can be studied from many fronts. They have ludic, machinic, and narrative sides (Mukherjee, 2015) that can sometimes be at odds in game analysis. However, there is another side that is often overlooked: video games are also animatic works. Our first contact with them is as playable images, a reality that places firmly within visual culture, and by not studying as such we are cutting some much needed ties. Even when they include so-called “live action” footage captured from real actors and real locations, their representational and expressive capacities belong to the realm of animation. This is not just a technical observation with implications only for animators: it makes games belong within the animatic apparatus explored by Cholodenko (2007) and Levitt (2018), an apparatus with its own formal structure, (an)ontology, and impact on our relationship with visual media. It also has further impacts on different levels. This presentation unpacks them in three fronts: 1) history and genealogies, 2) industry and intermediality, and 3) player experiences.

Nikoleta Wood (England) - The Economics of VFX: From Concept to Delivery.

Delve into the financial intricacies of VFX production in this presentation, where we explore the journey from concept to delivery. By emphasising the crucial role of effective financial management, the talk navigates pre-production challenges, production phase dynamics, and post-production considerations. From the importance of accurate budgeting and crew management to workflow optimisation, we'll uncover some of the key factors essential for ensuring successful project delivery — both on time and within budget constraints.
Participate in the dialogue, as we address the nuances of managing client expectations and underscore the irrefutable connection between economics and achieving VFX excellence.

Wilson Rodrigues De Almeida (Portugal) - Out of Line - Puzzle Design Process

Going from idea to execution is a path we all need to tread while developing anything creative.

During video game development we should strive to make this path clearer, shorter and a lot of fun, in turn, this will greatly increase the amount of possible iterations your team is able to achieve and that usually translates to better games.

While developing Out of Line, as a game designer, I needed an effective process that would help the team and me to go from loose mechanics to actual playable levels in the shortest amount of time possible. 

Out of this need, I created a 7 step design process that was employed during the game's production:

• Step 1 - Define Core Values
• Step 2 - Create a Framework
• Step 3 - Mechanic Exploration
• Step 4 - Sketch Puzzles & Interactions
• Step 5 - From Concept to Playable
• Step 6 - Level Integration
• Step 7 - Playtest

We will explore each step in detail, how it works, why it is needed and most importantly, the context in which it was applied.

In the end this is just a process that can be useful to you, but above all, it is also a presentation on how to stay comfortable and adaptable to the ever changing flow of the game development process.

Pieter Van Houte (Belgium/Canada) - 28 years later. Overview of career, from traditional animation studios to visual effects and what is happening right now in the field with more decentralised work and the potential disruptions of AI.

Peppered with visuals and personal stories, this talk explores the life of an artist navigating the dynamic terrain of creativity. I will share my journey from studying traditional animation in the last century to founding a visual effects studio in the post-pandemic era, nearly thirty years on, and the reasons behind it.
We'll discuss what I believe are the three key challenges facing the visual effects industry today, and how we can overcome them to prosper:
- the decentralization of the creative workforce,
- the swift and disruptive advancements in AI/ML,
- the work-from-home model and the critical role of knowledge sharing.

Marian Ferko (AVFXGD, Bratislava) - Organizing life and work responsibilities.

The current digital production of content-rich works requires the cooperation of many members of the production team. Coordination of work and careful planning is often the basis for fast and trouble-free creation. Especially in the production of digital games, the production processes are carefully synchronized. The resulting work contains thousands of assets that are interconnected and their production process and subsequent functionality is subject to careful planning. With a large number of tasks, it is necessary to use suitable tools for planning, which can also be used in personal life. We will present a brief overview of professional as well as non-standard tools.

Filip Matlák (AVFXGD, Bratislava) - Creation of CG characters.

The creation of CG human beings is an integral part of films nowadays. To create them, you need a certain experience, adequate artistic practice in the given field. This is long-term and everyone works on it for quite a few years and improves from project to project. However, there is also a technical part of this work, without which this process would not be possible. Thanks to it, anyone who is interested can clarify or enrich their experience in this area with such procedures that must be carried out for the desired result. This presentation focuses on ways to create a 3D CG character without significant experience and introduces the tools available. In addition, it also presents subsequent post-production, how to add final adjustments to the 2D output to make the result as convincing as possible.

Šimon Macháč (AVFXGD, Bratislava) - Creation of the environment.

Environment creation in film or games is rarely given prominence and is often underestimated. At the same time, the environment is one of the key parts, which in movies and games is as important as the story itself. The space surrounding our heroes and characters can often tell stories even without unnecessary motives and direct players even without a single navigation point. How is this possible and what are the ways. which can we achieve this?

Matúš Menke (AVFXGD, Bratislava) - VFX can be done "without money". How to get started for free.

Visual effects (VFX) are an integral part of movies and commercials these days, but their creation often requires high costs for high-end software, powerful hardware, as well as a lot of time of talented artists. There are many cheap or even free alternatives to traditional tools, thanks to which even a person who does not have access to professional software or expensive hardware can deal with visual effects. This presentation focuses on ways to create VFX without a significant financial input and introduces the tools and software available for beginners. In addition, it also presents alternative tools and artificial intelligence technologies that can speed up and simplify the process of creating visual effects.

Mari Gallet, Theoni Fotoglou (Howest University of Applied Sciences - Digital Arts and Entertainment, Belgium) - Creation of a Giant.

A lot goes into the production of an animated film: planning, preproduction, technical pipelines and meticulous art direction are all vital parts of a process that requires a dedicated team giving it their all. This presentation documents the entire creation of a graduation short film, including the many hurdles and victories the team went through. From the early concepts to the final polish, come along on the journey of 6 students creating a full CGI short in less than half a year.

Dayell de Graaf, Sacha Deen (Howest University of Applied Sciences, Belgium) - Behind AMBER: Creating Designs, Unreal Workflow and Team Dynamics 

Our team worked for 12 weeks to create a full CG product launch clip called ‘AMBER Inspire B3 Pro’. In our presentation we will focus on the key components of our AMBER project. Looking at the creation of the concepts and designs, the pros and cons of using Unreal Engine for rendering, and the ways in which a committed team enabled us to accomplish the project's goals.

Link to info on the FilmEU+ website

IVGC 2024

2024 Medzinárodná konferencia VFX and HD Bratislava SK verzia
2024 International Conference VFX and GD Bratislava EN version
2024 Medzinárodná konferencia VFX and HD Bratislava - Deň 2 SK verzia
2024 International Conference VFX and GD Bratislava - Day 2 EN version

IVGC 2023

2023 Medzinárodná konferencia VFX and HD Bratislava SK verzia
2023 International Conference VFX and GD Bratislava EN version

IVGC 2022

2022 Medzinárodná konferencia VFX and HD Bratislava SK verzia
2022 International Conference VFX and GD Bratislava EN version

2022 1.deň Medzinárodnej konferencia VFX a HD Bratislava SK verzia
2022 1st day of the International Conference VFX and GD Bratislava EN version

2022 2.deň Mezinárodnej konferencie VFX a HD Bratislava SK verzia
2022 2nd day of the International Conference VFX and GD Bratislava EN version

IVGC 2021

2021 Medzinárodná konferencia VFX and HD Bratislava SK verzia
2021 International Conference VFX and GD Bratislava EN version

2021 1.deň Medzinárodnej konferencia VFX a HD Bratislava SK verzia
2021 1st day of the International Conference VFX and GD Bratislava EN version

2021 2.deň Mezinárodnej konferencie VFX a HD Bratislava SK verzia
2021 2nd day of the International Conference VFX and GD Bratislava EN version

PROCEEDINGS

PROCEEDINGS IVGC 2023    PROCEEDINGS IVGC 2022    PROCEEDINGS IVGC 2021    PROCEEDINGS IVGC 2019