The second edition of the conference will take place on October 2 and 3, 2025 at Algebra Bernays University in Zagreb. The decision to extend the event from one to two days was made in direct response to numerous requests and suggestions from last year’s participants, creating more room for content, networking, and inspiring discussions.

The conference is organized by Games Croatia, a project of the Croatian Audiovisual Centre (HAVC) uniting key stakeholders of the Croatian video game industry (CGDA, Reboot, Gaming Incubator PISMO, and HeSS), and the Zagreb Film Office, with Algebra Bernays University as the academic partner. This strong collaboration ensures the relevance and quality of the program, which will once again bring together key players from the worlds of film and video games.

Visitors can expect an even richer program, including more panels, workshops, and case studies, as well as a greater number of international guests – experts sharing their experiences from some of the most innovative productions and projects on the global stage.

The Blend: Film & Games conference will once again be a meeting point, a hub for exchanging ideas and sparking new creative partnerships – a junction for two increasingly intertwined worlds.

Film Program Advisors: Morana Ikić Komljenović, Danilo Šerbedžija, and Hrvoje Osvadić.

Video Game Program Advisors: Tea Stepanić, Hrvoje Mitić, and Juraj Hrvoje Krašković.

See you on October 2 and 3 at Algebra Bernays University! Follow Blend: Film & Games channels for more conference updates. 

The post SAVE THE DATE – Drugo izdanje konferencije Blend: Film & Games donosi još više sadržaja, suradnji i međunarodnih gostiju! first appeared on IndieGames.

Danijel also participated as a speaker on a panel titled Animation – Similarities and Differences in the Animation of Films and Video Games, along with his colleague Sara Jurić. We spoke with him about the role of character designers, his views on the gaming industry in Croatia, the situation in the studio after it was acquired by Jagex, as well as many other topics.

Otherwise, SCUM is a game that offers the possibility of exploration, looting, crafting items, and customizing outfits as well as the character itself. It provides an exceptionally immersive and hyper-realistic survival experience, where you have complete control over your progress. Gamepires also participated in this year's Infogamer, so we definitely recommend paying extra attention to this game.

What do you do in your job?

I am currently a lead character designer, which means I lead my team and convey the entire system we use in the game to them. Besides transferring knowledge and experience, I maintain their workflow at an appropriate level and am there for any problems and challenges that arise. We work with a quite complex system that has been developing for years, and it takes a lot of time for each new team member to get into all the processes. In short, my job is to maintain, train, and lead the team.

Which programs do you use most often in the studio?

From the very beginning of character creation to completion, we use various programs. For example, for high-poly models, we use Marvelous Designer for clothing and ZBrush for sculpting animals. We often use 3D scans, which we then clean up in ZBrush. We also use Blender, while animators are more on the Maya program. Sometimes we also work in 3D Coat, although we don't use it as much. After that, we use Substance Painter and Photoshop, all from the Adobe suite.

How long does it take to create a character?

It all depends on the complexity. If it's an NPC that doesn't have to meet specific requirements, it can be done in two weeks. However, for complex characters, it can take up to six months because the work is often interrupted by other tasks, such as making trailers or fixing previously completed parts. Some characters, due to their specificity in our game, require special specifications; for example, our system allows characters to lose or gain weight, which means we need to have four different states for each character: skinny, fat, muscular, and normal.

Do you have a character in SCUM that you are particularly proud of?

Yes, I would say it's the DLC character Danny Trejo. He was our first DLC character, and I mostly worked on him. We had some clothing prepared by a former colleague, and I worked on the head, adjusting the scans for the body, textures, and everything else. Danny Trejo is actually the first DLC I worked on, and later other team members took over the continuation of development under my supervision. This project is particularly dear to me because there were many technical challenges. I enjoyed working on it more than on the first characters where the whole process was still in the stage of defining and adjusting.

Has the situation in the team changed since Jagex took over?

Yes, the changes are noticeable, especially in the pace and the actual process of content implementation. Previously, we worked intensively and released new updates every other week. With Jagex's arrival, the process has slowed down because everything we create now needs to go through additional review and receive their approval. Jagex is now the owner of the IP, so they must confirm every new piece of content before it enters the game. This additional communication with them definitely slows down the process.

Are you now also working on projects for Jagex, like Runescape, or are you focused solely on SCUM?

Currently, we are exclusively focused on SCUM. We are not working on their projects, although something may appear in the future. They already have enough people on their projects, and our models are more complex and higher poly compared to theirs, which are more low poly. For now, we have enough work on our own project due to the complexity of our tasks.

How does the constant advancement of technology affect your job? Is it easier for you to work now?

Honestly, although people often comment that the models in the game have improved due to technological advancement, in my case, it's not quite like that. I work with almost the same tools as I did nine years ago, with minor upgrades. What has truly changed is my experience and ability to achieve better results with the same tools. People often think that advanced technology has made work easier, but in fact, the quality has increased because I, as an artist, have progressed.

What does the gaming industry in Croatia look like currently? Is it difficult to succeed as a character designer?

It's hard to find experienced character designers because most candidates are still at a junior or beginner level. While we were looking for new team members, it often became evident how rare experienced designers are in Croatia. Although it's not difficult to find a job in this industry, success depends on how much individuals work on themselves. It's important to go through the entire process of creating a model from start to finish to understand what makes a model quality and useful for the game. When candidates receive feedback, we appreciate it when they apply it in future applications because it shows a willingness to learn and improve. Besides technical knowledge, communication and the ability to accept suggestions are very important, which is crucial for teamwork and production in general.

Are you planning to stay at Gamepires or do you have any ambitions to work on other projects or games that you would like?

Given that I have three children and a family life, I don't have much time to consider new jobs or start my own projects. After almost nine years in this role, I have no plans to leave. I used to think about it, but I realized that my departure could cause difficulties because certain workflows and knowledge are still only in my head. A comprehensive guide would need to be created for taking over those tasks, so for now, I don't plan on making a change.

How often do you collaborate with the team on character stories? How important is the backstory to you when creating characters and atmosphere?

My main focus is on creating clothing for playable characters. When we work on NPCs like monsters, tribes, or savages, there may be some backstory, but ultimately we focus more on the technical aspects. For example, if an NPC has long clothing like a cloak or coat, it must be adapted to technical limitations, such as Unreal Engine 4's inability to support the combination of cloth physics and character shape changes. This means that the clothing must be "weighted" to the bones to function in the game, but the player cannot take and use that clothing due to technical limitations. So, while there is some backstory, our priority is aligning with the technical specifications within the game.

Are you planning to switch to Unreal Engine 5 or another engine?

From what I've heard so far, transitioning to Unreal Engine 5 would bring many challenges and potential problems, perhaps more than it would offer benefits. However, we never know what the future will bring; if the programming team finds a way to implement it without major difficulties, we might consider that option. But for now, there are no concrete plans.

How did you start with design? Is it something you've always wanted to do?

Actually, I discovered design a bit later. I have always loved drawing, especially graffiti and sketches on paper. At one point, I thought I would become a concept artist, and I was also interested in airbrushing engines, cars, and helmets. However, due to financial stability, I started exploring digital tools, so I switched to drawing in Photoshop. Then I transitioned from 2D to 3D to help myself with perspective, and over time, I became more focused on 3D modeling. After a few years of practice, I applied for a job, and that's how it all started.

What do you think about the Blender: Film & Games conference you participated in as a speaker?

I think it's a great idea! There has been a connection between movies and games for a long time, and I'm glad that discussions about it are being opened at such conferences. I only recently learned about the project and started preparing for participation, but I believe it is a valuable space for exchanging knowledge and experiences.

How do you deal with clothing clipping issues and similar technical challenges?

Clothing clipping, especially with characters, is something we simply have to come to terms with. With "hard surface" elements, like weapon parts, mistakes are unacceptable because we know exactly how those components should behave. However, with "soft surface" elements, such as clothing on characters, things are significantly more complex. We have morphs for different body types – skinny, fat, muscular, and normal – which complicates perfect fitting. Adding too many details or morphs would increase hardware requirements and decrease game performance, which players would find more bothersome than occasional clipping.

How many pieces of clothing do you currently have in the game?

We have hundreds of pieces of clothing, including shoes, pants, shirts, gloves, special full-body items, as well as male and female versions of each piece. Each piece of clothing must be made in four versions due to different body types. This means that each piece requires more morphs and adjustments, further increasing complexity.

How do you balance visual quality and game performance?

We always strive to optimize the game to run on a wider range of hardware, including lower-end configurations. Textures and models are often reduced for consoles to achieve better performance. Sometimes players do not understand why certain things, like texture details, are adjusted, but our goal is to achieve a balance between visual quality and technical feasibility.

Are you satisfied with the game's reception?

We are satisfied with what we've achieved, but we believe that SCUM deserves an even larger player base, especially compared to competing titles. Many competitor games do not have as many complex elements as SCUM, but their long-standing presence in the market and player nostalgia keep them ahead. Nevertheless, we continue to build on what we have and believe that over time we will attract an even broader audience.

The post Danijel Dizdarević – Lead Character Designer u Gamepiresu first appeared on IndieGames.

Although we often do not pay attention to the ads that appear on our mobile phones, computers, or televisions, Dizdar's voice is one of those we can easily recognize, and in most cases, we do not even know it is him. His versatility is the reason many want to collaborate with him, and he gained popularity by participating in the singing competition Hrvatska traži zvijezdu and the show Supertalent. Additionally, he has a significant number of followers on social media, and he particularly enjoys working on animated films, where he voices various characters.

He was born in Chicago but grew up in the vicinity of Karlovac, in the settlement of Kamanje. What sets him apart and for which many praise him is his unique combination of American and Croatian ways of speaking and dialects, which gives him a special tone and way of expression and allows him to play with his voice. He has lent his voice to more than 400 TV commercials, among which Konzum, Coca-Cola, Pevex, and others stand out. This year, he was also the voice of the villain in the animated film "Ten Lives" and is known for his voice as SpongeBob.

Before the panel, we talked to him about how many voices he can imitate, what he thinks about artificial intelligence, whether he wants to participate in video games, and what he enjoys most in his career as a voice actor and where he sees himself in the future. Furthermore, we definitely recommend listening to his portfolio in more detail.

You are the most famous Croatian voice actor. We hear you in various commercials and cartoons. Do people often recognize you?

Many people recognize me, especially after 2017. At first, I thought it would fade over time since I no longer appear physically on television, except on platforms like TikTok and YouTube. However, most people still recognize me from the time when I was more visible on television, especially because of my voice impersonations.

What does your working day look like?

Well, I’m a bit of a “freak” when it comes to organization. I live by schedules and keep track of everything – when I wake up, when I go to sleep. At the beginning of my career, I would always rush whenever someone needed something, but now I’m more entrepreneurial and focused on my own projects. For the first 4-5 hours, I work for myself, and only then for others. I go to studios, record, and if it’s something I’ve been doing for 10 years, I don’t need much preparation, so I handle that in the afternoon.

You are a voice actor, imitator, and singer. What techniques do you use in your work?

I use various techniques, depending on what is needed. I mostly work as a voice-over artist, which is a broad field. There are few good voice actors, so I enjoy doing vocal singing as well. Sometimes I need to imitate voices, create synergy with post-production, or adjust my voice according to technical requirements. A good understanding of these things helps in recording. Sometimes I also have to work on sound effects.

Do you often have problems with your voice? Does constant strain affect your voice?

Yes, it was difficult for me when I had two sessions a day. Those were three-hour recordings per session, so six hours of work. Sometimes I would have a third studio for something completely different. It was extremely exhausting, especially when you have to shout. You always have to be well-rested because it’s hard to "fake" being in a good mood during recording. You have to sound enthusiastic; otherwise, it sounds bad. That’s why it’s important to come mentally prepared. And when you’re not, caffeine always helps. However, I have slowed down a bit and have been choosing projects in the last two to three years.

What do you think about social media, do they help you in your career?

I think anyone building a career should have social media. In my case, what I do is very interesting to people. Even if I'm working on something quieter, there's always some video that does well. I have fun on social media, adapting the content to what interests me, promoting films, especially feature-length and animated ones. It entertains the audience, improves promotion, and for me, it's something new and interesting in the last two years.

How many voices can you imitate?

Honestly, we’ve never counted, so I don’t know exactly either. On my website, I have about 60 speaking styles that I could list, but it all depends on how much subtlety you want between each voice. It really depends on the level of precision. Also, I’m quite self-critical – maybe I think a certain voice isn’t good enough, while someone else would say it’s excellent. That’s why I usually use the voices I consider to be the best.

If I remember correctly, you were SpongeBob?

Actually, there were three SpongeBobs. First, one studio worked on it, then another studio took over with a new actor. When that actor went to Ireland, there was a gap and panic ensued – what now? Then they asked me to do a voice test. My voice is a bit heavier and more raspy compared to the previous SpongeBob, who had a softer, higher voice. But in the end, it turned out great because, although my voice is rougher, I can do more with it. Recording SpongeBob is never boring; we always have fun and laugh, even after ten years. Time really flies!

Do you prefer working on animated films then? What do you enjoy the most?

Working on cartoons is always fun, although after 12-13 years in the field, it's hard to find something I haven't done before. Still, SpongeBob never gets old for me. Even if I come in tired, the recording is always enjoyable. I also love doing voiceover work, but I think marketing in Croatia sometimes plays it too safe. In foreign commercials, the voice is often a key element, whereas here it doesn't get as much attention. I believe there could be much more experimentation with voice acting in commercials.

You were in the show Supertalent. When did you decide to apply?

I applied at a moment in my life when I realized that this is a job where every promotion means a lot. In every job, it’s important for people to recognize and recommend you. Nowadays, social media makes promotion easier, but older individuals, who are often in key positions, may not be as present on those platforms. That's why it's good to devise a strategy. Appearing on the show opened new doors for me, like a long-term collaboration with Pevex, which I have been doing for four years now. My appearance on television helped a wider audience get to know me.

What advice would you give to young talents who want to succeed in this business?

Well, I would say that when you decide to pursue this job, you have to fully commit to it. These are professions that seem glamorous, like acting and modeling, but behind the scenes, there is a lot of hard work. Many people are attracted to extravagant careers but do not want to put in the effort required. For example, kids come to the studio, record for a few hours, and after a couple of sessions, they say they've had enough. Every job is hard in its own way. My advice to young people would be to study the industry, develop their skills, and adapt to the future – because technology will certainly change this job in the coming years.

Do you think AI will take over the jobs of voice actors?

I spoke with a sound engineer who has over 25 years of experience, and we touched on how AI could impact our work. He started his career in the early versions of digital programs, but back then everyone was still working on old machines, and no one was studying new technologies. As a young sound engineer, he couldn't make a big change right away because he needed to gain trust and contacts. However, after a few years, those who didn't keep up with technology slowly fell out of the game.

When it comes to voice work, it's hard to predict the future because if someone knew what would happen, they would already know which stocks to buy. But it is certain that new technologies are gradually entering the market. For example, for lower-quality or less important projects, AI voices may be used more and more. In English, AI voices are already quite good, while Croatian is more complex and mixes with similar languages like Serbian, which makes precise imitation more difficult. However, in English, AI voices are already so good that they can sometimes be hard to distinguish from real ones.

Slowly but surely, AI is entering the market and affecting our work. When I look at my earnings, I see how it is gradually eating away at part of the market, and the moment may come when it will be necessary to think about alternative careers. That’s why it’s important to remain adaptable.

Have you already noticed AI voices that are hard to distinguish from real ones?

Yes, it has happened a few times that I didn't immediately recognize the voice as AI, especially in the first 5 seconds. When I realized, I thought, "Oh, yes!" It's time to consider alternative options. Every career has its challenges and takes time to build up. When we decide on a change or a new path, we must be aware that it takes time to build. That formula applies to everyone, and that's why I recommend it to others – success doesn't come overnight, but through gradual progress and persistence.

Have you worked on video games as a voice actor?

Yes, I have been part of several games. In Phageborn, I voiced monsters, and I also worked on Scullport as a pirate. Although I haven't worked on Croatian games, it's my wish. If there is an opportunity, I would gladly get involved in some Croatian gaming project.

What do you think about the conference related to movies and games?

I just arrived, so I don't know much yet, but this is my first time here, and I'm looking forward to it because I know there will be quite a few well-known people. It will be interesting to see how everything will look.

How was it working on the animated film Ten Lives? What role did you have?

It was great and fun! I played the role of the villain, which I always particularly enjoy because such characters have a lot of expressiveness. My character was manic-depressive, so he shifted from explosive to calm phases, which was a real challenge. I love when a character has a full spectrum of emotions because that's when I can fully showcase my talent. Although it's hard on the voice, I always enjoy taking on such roles.

Do you see yourself as an actor compared to other careers?

One of the reasons I love voice acting is that I don't have to memorize entire scripts. When I had to memorize the whole script for recordings a few times, I was under immense stress. Fortunately, it worked out, but after that, I decided to choose projects where I don't have to learn the text by heart as much. I prefer working on specific projects where I can focus on one task and give it my all.

Do you have any special wish for a role in a video game?

I don't have big appetites, but it would be great to have a role in some game, like a soldier on the map, giving short commands like "Hey, hurry up, the team is waiting for us over there!" I would already buy that game just for that moment. I've learned that low expectations are the key to a happy life, but I love pushing boundaries and working on projects that challenge me.

Do you play video games in your free time?

I have a lot of responsibilities and I run two jobs, so I don't have much free time. However, when I catch a moment, I like to play something. League of Legends takes up a lot of my time, especially when I uninstall it and then reinstall it, and then wait for it to update – that's already a punishment in itself! But I've loved playing, from Age of Empires 2, Civilization 4, to Unreal Tournament and GTA. For example, I know the entire Chatterbox from GTA 3 by heart, as well as the game radio. Those games have stayed in my memory.

The post Daniel Dizdar – glasovni glumac, pjevač i imitator first appeared on IndieGames.

After the panel, we had the opportunity to meet Davor and talk to him about what it's like to be a sound designer, as well as a composer working on video games. What makes this profession different and special, how he creates sounds, what tools he uses, and how to succeed in this field.

He is currently working for the American studio 8 Circuit Studios on the game Project Genesis, as well as with the Croatian studio Ironward on the game Atre: Dominance Wars. It is a 4X RTS title that evokes nostalgia for Heroes of Might and Magic, and may also remind you of Age of Wonders. The game is woven with a deep and rich story, so expect campaign gameplay where you will explore various spells and technologies, as well as strategically position armies.

How demanding is the job of a sound designer and composer?

The job is demanding, but I always say that I have the best job in the world. No one can offer me a better one because I have always been involved in music, first as an amateur and for the last 5-6 years professionally. If you love your job, the demands become a pleasure because in the end, you see, or in my case, hear a good product. A lot depends on the client and their requirements, but working in gaming is very fulfilling for me. My goal is always to create a game that sounds as good as possible in terms of sound design, music, and implementation.

How recognizable are sound designers and composers in the video game industry?

Not really. It often happens that there are games particularly known for their outstanding music. On one hand, this is important from a business perspective, as games increasingly hire well-known composers, mostly from the film industry.

For example, composers like Harry Gregson-Williams, who became famous for film music, also work on music for video games. However, those who exclusively create music for games are often not well-known to the general public outside the gaming world.

On the other hand, gamers who love Nintendo, for example, often know who is behind the music or conceptual design for their favorite games. Still, video game composers are generally not that exposed to the public.

You engage in various activities – from music (professionally) to photography and psychology (privately and personally). How do you manage to find time for everything?

By profession, I am a psychologist, but I do not work in that field. About five years ago, I quit a job at a private company that operated in the medical sector, where I sold and adjusted hearing aids. That was the closest I could find to a job related to my interest in sound, especially music, which has always attracted me.

I did not have the opportunity to study at the SAE Institute in Ljubljana, which focuses on sound mixing, but today I am glad about that. After leaving the company, I decided to work on something related to sound and music. Thus, I gradually entered the gaming industry, and my first project was working on Serious Sam 4, where I was an assistant sound designer and created sounds for cutscenes.

As for psychology, I do not engage in it professionally, but only privately, in personal relationships. Photography is my hobby, which I practice exclusively in analog, not because I think it's better, but because I enjoy the process. I used to be a professional photographer, but now I have no desire for that. Now I take a camera, go outside, and maybe take one or two photographs on film.

The process of photographing analog is very different, and one of the main factors is that it is expensive, as every film is extremely costly and developing is expensive. While my wife with her digital camera can take a hundred photos in one afternoon, I might only take one, and sometimes none at all, if the shot or light isn’t good enough. So I always find time to work, and photography fits in whenever we go for a walk.

How many games have you worked on so far?

It's hard to say precisely, but I would say it's around ten games. Some of them were never released, while others are still in development. For example, the project I am currently working on has been in development for between six and eight years. Some games develop faster, depending on the size of the team and the complexity of the game itself. One mobile game I worked on is supposed to be released in a few months, even though it has been in development for six years. On some, I was only responsible for implementation, on others for both implementation and sound design, while on some I worked only on sound or music. It is often a combination of all these elements.

Are you still working with the Ironward studio? Can you tell us what the process of creating sound, design, and music for such a game looks like?

The music process for this game is still in the early stages, considering that the game itself is in the early development phase. We usually receive instructions from the producer or someone who decides on the direction of the game, such as mechanics or atmosphere, and based on those guidelines, we try to create the desired sound. Sometimes we get references from movies, classical music, or other games. Game development takes a long time, and through many iterations, we try to find a direction that fits the project.

Do you create music for other media as well? What other projects have you worked on?

Yes, I created jingles for a private television station in Zagreb; I think they are still being aired. Those were some of my first projects when I started focusing exclusively on music and sound. I have also worked on music for multimedia presentations in museums, animations for various companies, commercials, and sound design for different projects.

Where do you find inspiration for creating sounds?

When it comes to sound, inspiration often comes from references to something else. There are sounds I imagine, that I want to create, but I haven't managed to realize them yet. For example, when I'm working on a game and I get the task to make a sound for, say, a grenade, I first think about how others have solved it in similar games. This often gives me inspiration, not to copy, but to create something different, according to my own vision.

As for music, since I’ve been playing guitar for almost 30 years, inspiration often comes from pure improvisation. I sit down with the guitar without a specific plan and just start playing. I always have my phone or a sound recorder with me because sometimes an idea comes out spontaneously and I record it right away, because something interesting might come from it.

The same goes for sound design – I walk somewhere and hear an interesting sound. I record it, then later use or adapt it for a game or project.

What programs do you use? 

I exclusively use Reaper because, although I often explore online how others work and what tools they use, I haven't found anything that suits my needs better. Reaper fits me perfectly, and I don’t feel like I'm missing anything. What I particularly like about Reaper and why I recommend it to everyone is its incredible adaptability. I can customize everything, from the appearance of icons on the screen to the colors and functionalities of each key on the keyboard. This significantly speeds up my workflow.

Reaper is my primary software for sound design and composition. I also compose within it. As for gaming software, I primarily work in Unreal Engine, and I have also worked on several projects in Unity. I also use middleware software, which is used for implementing sound into the gaming engine. I most often work in FMOD, although this is usually dictated by the developer, as the software has different prices. Sometimes sounds are integrated natively into Unreal or Unity, depending on the project.

So, is it better to be versatile in order to succeed in this industry?

I would say it is quite important, as projects and studios vary greatly. I have worked with different studios, and some use exclusively Reaper from the very first steps of sound design, which was great for me.

It is not always predetermined which software will be used, and sometimes the focus is not solely on sound. It is important to be flexible, because although engines and middleware software like FMOD and Wwise are generally similar, there are significant differences. One must be ready to adapt to different projects, as when one ends, the next project may require working in a completely different environment with new tools and approaches.

Do you have any advice for those who are just starting out?

I have a few tips. First of all, it’s important to work as much as possible and reach out to people. I would recommend starting with smaller indie studios, as often one person develops the entire game. For example, I’m currently working on such a project where one person is almost single-handedly developing the gameplay and visuals, while we help him with sound implementation.

My advice is to reach out to people as much as possible through cold calling or emails. This often worked for me – you might send 500 emails, but one contact can bring you work for years to come. Also, it’s very important to learn sound implementation. This is often an overlooked part of the process, but extremely important, as poor implementation can ruin a game – it can sound too loud, too quiet, or even cause the game to crash.

I recommend everyone learn as much as possible about implementation, as it can be a huge advantage, especially in the early stages of a career. I worked on a project where the game was almost finished, but due to poor sound implementation, the game crashed and consumed too many resources. That’s where I learned how crucial it is to optimize sounds, monitor how much hardware resources they consume, and how often they repeat. These are details that can significantly impact the final performance of the game.

Another piece of advice is to learn to work with game engines. In large studios, there is often a separate person for sound design, implementation, and audio programming, but if you know at least the basics of all these areas, you will have a great advantage because you will be able to work independently on various parts of the project without needing additional help.

Which project did you enjoy working on the most?

It's hard for me to single out a project that I enjoyed the most. As someone who entered this industry relatively late, I can say that I don't have much experience related to gaming. However, in gaming, I have met many people, and I can say that the atmosphere is very positive. Everyone appreciates work, regardless of what role they have.

One of the reasons for this is that gamers are often the ones who are mostly online and used to communicating via Discord or similar platforms, so communication is spontaneous. The work is taken seriously, but the atmosphere is also informal. It's creative work, which implies a more relaxed approach — no one wears ties, and we are all more laid-back, which I like.

Have you ever used any melodies or motifs from Croatia? Perhaps from folk music?

Not so far. First, I haven't had the opportunity to work on such projects, and second, I always strive to create something original. I care a lot about copyright and simply don't use other people's materials, neither samples nor beats; I always work exclusively 100% on my own.

There is always the possibility that something unforeseen might happen. For example, on YouTube, you often find "free sounds" with licenses that state you can use them freely, but it turns out that those sounds were taken from someone else and that they should have a license that could cost money. That's why I'm very, very cautious in that regard.

What do you think about the Blender Films & Games conference?

Phenomenal! The conference is really excellent, and the team is very positive. I think it's great that the theme of film and video games is being combined. These are very close spheres, although they have their differences. In my panel, I learned a lot by listening to my interlocutors for 40 minutes. Even though I work in this field, there were many things I didn't know. Here are people who work professionally in films, whether it's about sound or music.

When did you learn notes exactly and what instruments do you play?

Well, I'm currently learning notes. I know them, but I'm not someone who can easily read notes from paper. I know which note is which, but what I mentioned at the conference is that today the advantage is that you can learn almost everything for free — especially on YouTube.

I've watched videos about sound design, composing music, and using different instruments. I play electric guitar, bass guitar, and keyboards. Keyboards are something I've recently started using, but now I use them the most because all music composition on the computer is done through the keyboard. The MIDI keyboard triggers the sounds I want, whether it's a choir, cello, organ, electric guitar, or something else. If I need to record electric guitar, then I play it myself.

The post Davor Manojlović – music composer and video games sound designer first appeared on IndieGames.