Different Approaches to Directing: Interactivity vs. Linear Narrative

The discussion began by highlighting the key differences between film directing and video game directing, where participants recognized interactivity as the most important factor. Hunski pointed out that video games are unique because the player takes on the role of the director, while the film director controls every aspect of the narrative. In games, especially those with open worlds, players choose their path, which often means that many may never see certain scenes or experience key moments that the team has designed.

Vuković emphasized that this is one of the great advantages of video games: “The player shapes their experience, pieces together parts of the story, and creates a picture that is unique to them. That’s the ‘wow’ that drives us forward – that interaction and the possibility for the player to discover the story in their own way.” However, the question arises – what if the player never reaches that key moment?

On the other hand, film is a medium that provides a linear narrative structure in which the director has complete control over what the audience sees and feels. Zadro explained that this aspect of film directing is often more challenging because you have to convey all the emotions, atmosphere, and message without interactivity: “Everything is on you. There is no interaction that creates the experience – you have to deliver exactly what you want the viewer to see and feel.”

Multiplayer Games vs. Single Player Narratives

Stepanić from BlackMill Games, which worked on the game Isonzo, spoke about the specific challenges of multiplayer games. While single player games allow control over the narrative, multiplayer games require a balance between historical authenticity and enjoyable gameplay: “We have to design the scenery, uniforms, and weapons in a historically accurate way, but at the same time ensure that players have fun.” In multiplayer games, there is no guaranteed narrative thread that the player must follow, so it is crucial for the game world to tell its story, regardless of where the player goes.

She also emphasized the importance of balance in games, especially in historical multiplayer titles: “We have 48 players in a game like Isonzo, and elevations and terrain play a key role in the balance between attackers and defenders. Everything must be well planned, even though historical conflicts were often extremely asymmetric in reality.”

The Creative Process and Challenges of Directing

One of the most important aspects, both in film and in video games, is team leadership and conveying a vision. Zadro spoke about the importance of teamwork, emphasizing that the director is not the only creator, but that the whole team contributes to the creative process: “Leading a team is just as important as managing a project – you need to know what you want, but you also have to give each team member the space to contribute their creativity.”

Budić, who is working on the game Bura, added that her approach to design was driven by the emotions she wanted to convey through the game. The story and level design were key elements in defining the feelings she wanted to evoke in players: “Similar to film, in games you have to carefully plan how each element, from the story to the visuals, contributes to the overall player experience.”

Connecting film techniques and games: Interactive films as the future?

One of the more interesting topics was interactive film and the merging of cinematic techniques with the interactivity of video games. Vuković recalled the experiment Black Mirror: Bandersnatch, which attempted to combine interactivity with the film form. Although the project was interesting, it did not spark a wave of similar projects. Boris believed that the reason for this lies in the fact that such projects balance between game and film, but did not achieve top results in either area.

“As soon as you introduce interactivity, you enter the world of video games. Such projects can be interesting, but they need to have a deeper meaning to be successful. Simply adding interactivity does not necessarily mean a better experience,” Boris concluded.

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Tools and Software: Cubase, Reaper, Pro Tools and more

One of the first questions on the panel related to the software that the panelists use in their work. While some have been using Cubase and Nuendo for decades, others have switched to Reaper due to its flexibility and affordability. Zelić emphasized that he uses Pro Tools for production and sound processing, highlighting its advantage in working with teams around the world, as it allows for easy sharing and compatibility: “When someone sends me a Pro Tools session from South America, I can open it without any issues, which is a significant advantage for international projects.”

Krstajić also uses Cubase but has experimented with other software like Logic and Digital Performer, while Grubačević notes that he still uses Sonar, an old software he sticks to due to years of habituation. Although opinions on software are divided, everyone agreed that the choice of software is often a matter of personal preference and working habits.

Sound Design and Sound Implementation: Key Techniques for Film and Games

A significant part of the discussion is dedicated to sound design and the ways in which sound is implemented in games compared to films. Zelić described the challenges he faces in creating sound for films, where dialogue is often the focus, while other sounds and effects are secondary: “In Croatian films, dialogue is the most important, and everything else must be supportive. It often happens that towards the end of the process, attention shifts to fine details, such as footstep sounds or background noise.”

In games, on the other hand, sound has an additional function – a guide for the player. Manojlović emphasized the importance of balancing sound in video games so that players receive key information through auditory signals: “In games, sounds like footsteps, gunshots, or signals that you have hit another player are extremely important. We must group sounds and set priorities – for example, if a player is injured, we reduce environmental sounds so that they can hear key information.” He also highlighted that techniques like side-chain compression are often used, which automatically reduce one sound when another, more important sound appears.

Music in movies and video games: Interactivity vs. linear narrative

One of the key differences between music in films and games is the level of interactivity. While film music is linear, in video games, music must be adaptable and interactive to change based on the player's actions. Krstajić explained that stems and different layers of music are often used to allow seamless transitions within the game: “Music in a game can last five minutes or an hour and must be designed not to repeat and become irritating to the player.”

Manojlović added to this topic, emphasizing the importance of collaboration between composers and programmers to properly implement music in the game: “In games, it is important for composers to know software like WISE, as they need to understand how the music will be implemented in the game. This way, they can better tailor their work to the interactive demands.”

On the other hand, Grubačević described how working in films is more focused on definitively finishing soundtracks and how composers often participate in the final sound mix. He highlighted the importance of a good relationship with directors, as the final decision on how the music will sound depends on the director's vision: “I always participate in the sound mix and go through every detail to achieve a balance between music and dialogue.”

Criticisms and adjustments: Constant improvement of sound and music

One of the topics that sparked interesting reactions among the panelists was criticism and adaptation during the sound and music creation process. Krstajić admitted that over the years she has learned to accept the critiques of the director and other team members, as she is aware that she is in service of the final artistic work: “In the end, I work for the director or for the game, and it is important to understand their vision.”

Although going through numerous revisions can be frustrating at times, the panelists agreed that communication is key. Zelić emphasized that it is important to remain flexible and open to changes, especially when faced with criticism at the end of a lengthy process: “You have to be ready for compromise and adaptations, and sometimes that is a psychological challenge.”

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Differences between cinematic and gameplay animation

One of the main themes of the panel was the difference in the approach to animation in films and video games, particularly in the context of technical requirements and creative freedom. Jurić, who has experience in both industries, emphasized the key differences between film and gameplay animation. Specifically, film animation allows for much greater freedom in expressing emotions and performances, as the animation is tailored to one camera: “In the film industry, you have greater freedom of performance because you are working for one camera, whereas in video games, the animation must look good from all angles – 360°. Therefore, the technical side of animation in games is extremely important.”

Jurić also mentioned an example from Pixar's film Luca, where animators "tore" 3D models from the other side of the camera to achieve a more beautiful expression, which would be impossible in games since the animation always has to be viewed from multiple perspectives. The only similarity to film animation can be found in cutscenes, where the conditions are similar to the film approach, but gameplay animation requires high technical precision.

On the other hand, Đukić emphasized that despite the technical differences, in both media the key story and emotions conveyed by animation are crucial: “We are storytellers, regardless of the medium. Our task is to convey emotions and connect with the audience, whether it's through a film or a video game.” According to him, there are many technical differences, but the fundamental task of the animator remains the same – to create an emotional connection with viewers or players.

Workflow and technological tools

Dizdarević, who works as a lead character artist on the game SCUM, detailed the workflow process of character creation for video games, including the use of high poly and low poly models, texturing, rigging, and optimization for different devices. Dizdarević explained how game models must be adapted not only to the technical requirements of the game but also to hardware limitations: “In the game SCUM, we use a LOD system (Level of Detail), which reduces the number of polygons and texture resolution depending on the distance of the player from the object, allowing the game to run smoothly even on weaker computers.”

He also emphasized the importance of communication between different teams, including animators, programmers, and testers, to ensure that everything works in the game: “We have meetings every week to track progress, and teamwork and constant communication are key to solving technical problems and bugs that arise during development.”

Crunch time and working conditions

One of the themes that is often present in the gaming industry is crunch time – an intense period of work before the launch of a game or a major update. Dizdarević confirmed that crunch is inevitable in the video game industry, especially before important events like trade shows and the launch of new game versions: “Every time a new update is released, we have a mini crunch, and when we are preparing for larger events, like presentations at the E3 fair, we know we can work for three days straight to have everything ready.”

In the film industry, according to Đukić, crunch time is less present, but there is still pressure to complete the work on time: “In movie animation, the process is layered, but once a certain phase is locked, there is no turning back. Every mistake at the beginning later comes at a high cost, which drives us to precision at every step.”

Technological progress

The panelists also spoke about the tools and software they use in their work processes. Dizdarević mentioned that, despite the advancement of technology, he still uses the same tools as he did nine years ago: “It is not technology that makes models better, but the progress of the artists themselves. Over the years, we gain experience and develop skills, which reflects in the quality of our models.”

Đukić, who works in both the film and gaming industries, highlighted how the emergence of Unreal Engine has transformed the way they work: “Unreal Engine allows us to experiment with light and scenes in real-time, which is a huge advancement compared to older methods where we had to wait several minutes for a scene to render.” He emphasized that the transition to a real-time pipeline has helped speed up production and provided creators with greater flexibility.

The post Animacija u filmovima i videoigrama: Sličnosti i razlike prema iskustvima stručnjaka s panela na konferenciji Blender: Film & Games first appeared on IndieGames.

Prvo izdanje konferencije Blender: Film & Games otvorilo je brojne aktualne teme kroz panele i prezentacije mnogobrojnih stručnjaka audiovizualne i gaming industrije. Na samom početku konferencija je otvorena protokolarnim govorima organizatora i domaćina Sveučilišta Algebra, Ministarstva kulture i medija, te ravnatelja Hrvatskog audiovizualnog centra. “Nakon pet izdanja konferencije PROFilm Days u šestu godinu ušli smo zajedno s gaming industrijom, što se pokazalo kao logičan slijed i vrlo uspješno i nužno povezivanje dva sektora i to s više od 80 govornika”, rekla je Mia Pećina Drašković, voditeljica Zagrebačkog filmskog ureda koji je ujedno i organizator konferencije.

Benjamin Noah Maričak, voditelj ureda Games Croatia koji je osnovan ove godine pri HAVC-u, a koji je uz filmski ured također organizator, naglasio je kako je ova konferencija bitan kotačić u razvoju audiovizualne industrije i prva takve vrste održana u Hrvatskoj. Christopher P. Marcich, ravnatelj HAVCa, otišao je korak dalje i rekao da je ovo svjetska premijera takve konferencije, jer na primjer Španjolska također pokreće sličnu konferenciju ali tek kroz nekoliko dana pa smo mi ipak prvi. Krešimir Partl, Državni tajnik Ministarstva kulture i medija čestitao je organizatorima na uspješnom povezivanju filmske i naglasio kako HAVC od 2021. godine sufinancira razvoj i proizvodnju videoigara, a posebno je izrazio zadovoljstvo projektom Games Croatia.

Location manageri, Naomi Liston i Klaus Grosse Darrelmann, koji su odabirali lokacija za filmove kao što su The Grand Budapest Hotel, Game of Thrones, Red Sparrow i The Northman, na svom panelu pričali su o izazovima s kojima se susreću na lokacijama koje nemaju nikakvu infrastrukturu, ali su savršena podloga za stvaranje budućeg filmskog hita. Oni će ostati u Hrvatskoj punih deset dana te će obići Hrvatsku, od Slavonije do Dalmacije, jer su u potrazi za lokacijama za njihove nove projekte. Naomi je naglasila da priprema sezonu 2 projekta kojeg je nedavno završila i da sada traži krajolike bez civilizacije i  povijesnu arhitekturu kao što su drvene kuće, dvorci i sl. te joj je Hrvatska vrlo zanimljiva lokacija.

Prvi hrvatski igrani film o legendi sporta – Dražen, panel je koji je najavio premijeru filma o Draženu Petroviću koja će se dogoditi 22.10.2024., na Draženov 60. rođendan. Producenti Ivor Šiber i Ljubo Zdjelarević naglasili su da ne rade film o košarkašu Draženu Petroviću već o njemu kao čovjeku, te da će upravo zato većina filma biti o njegovom životu, a manji dio samo igranje košarke.

Na konferenciji je prikazan prvi kratki hrvatski film koji je osvojio Zlatnu Palmu u Cannesu, Čovjek koji nije mogao šutjeti, te je ostavio sve gledatelje bez riječi. Ovo remek-djelo hrvatske kinematografije posljednjih je mjeseci u fokusu svih medija, a na konferenciji je redatelj filma Nebojša Slijepčević objasnio da mu je želja bila da priča komunicira s današnjim vremenom te objasnio da je dokumentaristički pristupio projektu i kombinirao stvarne događaje i fikciju. Na kraju panela je najavio da radi na novom, ovoga puta, dugometražnom filmu koji će biti adaptacija jednog poznatog suvremenog romana.

Roblox, platformu za online igre i sustav za stvaranje igara i kako promovirati svoj film na toj značajnoj platformi objasnio nam je scenarist Branko Ružić, koji je u sklopu konferencije održao i radionicu scenarija u trajanju gotovo četiri sata. Sve tri radionice koje su se održale u sklopu konferencije bile su popunjene do zadnjeg mjesta.

Mladen Đukić (BIH), vlasnik Aeon Production i animator te jedan od govornika nije krio oduševljenje konferencijom: ‘Velike pohvale za organizaciju, kvaliteta tema i panelista me je ostavila prikovanog za stolicu svo vrijeme konferencije. Panel o animaciji kao vezi između filma i video igara na kojem sam sudjelovao je pokazao koliko su bliske ove dvije industrije, ali i da developeri i animatori moraju više i ranije komunicirati’.

Panel pod nazivom Svjetski uspjesi hrvatskih video igara izazvao je poseban interes svih posjetitelja, a Mario Mihoković, CEO LGM & Overseer Games objasnio je važnost konferencije: ‘Na današnjem događaju na Sveučilištu Algebra sjajno je bilo vidjeti interes polaznika i publike za game development općenito. Taj se interes samo povećava što mi je posebno drago za vidjeti. Svi su imali prilike čuti iz prve ruke kako industrija funkcionira iznutra, a dodatnu vrijednost su dodale konkretne igre prezentirane u sklopu eventa. Gosti su na jednom mjestu mogli čuti iskustva veteranskih developera iz Hrvatske, a također i vidjeti igre koje ovdje nastaju te se osvjedočiti u korisnost potpora koje ovakvim projektima stižu iz HAVC-a, Algebre i ostalih institucija. Da su ovakvi događaji i potpora postojali kada smo mi počinjali, bilo bi to od neprocjenjive vrijednosti.’

Posljednji panel, od ukupno 19 s više od 80 predavača, najavio je premijeru hrvatske teen serije pod nazivom SRAM, a koja je adaptacija norveškog svjetskog hita SKAM. Hrvatska inačica ove popularne serije prije desetak dana je završila sa snimanjem, te će se prva sekvenca prve epizode (svaka epizoda ima pet sekvenci) 22.10. objaviti na You Tube kanalu, društvenim mrežama i službenoj web stranici serije. Seriju proizvodi CGM Films za HRT, a na konferenciji su Ivan Lovreček producent CGM Films, Maja Fišter urednica projekta, HTV i prof. Mirnada Novak s Edukacijsko – rehabilitacijskog fakulteta objasnili važnost serije za mentalno zdravlje mladih kroz teme koje su njima bitne, a do kojih su došli intenzivnim razgovorima i pripremama upravo s teenagerima tijekom više od dvije godine. Naglasili su da već sada imaju golem interes mladih za seriju te da su svjesni da HTV godinama nije nudio sadržaj za tu dobnu skupinu. SKAM je svoju adaptaciju do danas imao u 10 zemalja, dok se u Francuskoj snima već 13. sezona.

Prvi dan karijera u audiovizualnoj industriji prošao je više nego odlično i uz brojne posjetitelje, učenike, srednjoškolce i studente, koji su se interesirali za svoje buduće zanimanje kako u filmu tako i u gamingu i to na devet info pultova raznih tvrtki i obrazovnih institucija (ADU, Algebra, Vern i PISMO).

Mislav Balković, rektor Sveučilišta Algebra po završetku konferencije ponovio je važnost edukacije u gameing industriji: „Podcijenili smo moć hrvatske IT industrije u privlačenju mladih ljudi i otvaranju novih radnih mjesta. Iskustvo nam je pokazalo da preko 87% studenata Algebre već za vrijeme studija pronalazi posao, zato je važno da kroz prijediplomski studij namijenjen razvoju računalnih igara damo dodatan doprinos game development industriji. Naš program odlično se nadopunjuje na srednjoškolski strukovni program koji već postoji u Sisku. Želimo Hrvatsku pozicionirati kao zemlju predvodnicu razvoja game developmenta u ovom dijelu svijeta, a pokretanje stručnog studija prvi je korak u tom smjeru.“

Za kraj, konferenciju je nabolje opisao Jan Juračić, narativni dizajner: ‘Konferencija je bila uspješna sinergija dvije discipline. Tko nije otišao inspiriran, nije obraćao pažnju!’

Ovim putem još jednom zahvaljujemo Gradskom uredu za kulturu i civilno društvo, HAVCu i TZGZ na financijskoj podršci konferencije, te svim sponzorima i medijskim pokroviteljima. Sva predavanja uskoro će biti dostupna na službenoj web stranici konferencije www.blenderzagreb.eu, a sve dodatne informacije o snimanjima u Zagrebu pratite na društvenim mrežama Zagrebačkog filmskog ureda.

The post Pred prepunim dvoranama održana konferencija Blender: Film & Games 2024 first appeared on IndieGames.

Passion as a Driving Force

One of the key topics of the panel was the passion for video game development, which often transcends all challenges in the industry. Murat from Nanobit emphasized that the video game industry requires a lot of work and effort, especially in the early stages of a career: “If you want to do something that makes people happy, something that will bring a smile to their face, then work in gaming. But don’t expect an easy start – it takes a lot of hard work and passion.” Murat added that success often comes from teams putting in more than expected and not giving up on the challenges that come with game development.

Hunski from Croteam agreed, highlighting that the key to success is working out of love: “Our team operates like a hippie commune – we do what we love, and when you see that people enjoy your games, it gives you extra passion and motivation. We don’t use work control mechanisms; our team works because they want to, because they love their job.” According to Hunski, the creative process is crucial, but it requires hard work and constant adaptation to the market, while simultaneously allowing for the development of unique ideas.

Challenges of Financing and Maintaining a Business Model

The panelists also discussed the challenges of financing projects and making tough business decisions. Mihoković from LGM & Overseer Games shared his experiences regarding financial difficulties and balancing creativity with commercial success. He emphasized that although financing projects can be challenging, their team succeeds because they are focused on simple, clear goals: “We are like aunts at the market – we have a good product, if the price is right, people will buy it.”

On the other hand, Murat spoke about the importance of recognizing the moment to stop game development. He considers this aspect one of the hardest for any developer: “One of the hardest things is knowing when to stop a project and not continue investing time and money into something that may not succeed.” He highlighted how crucial it is for developers to be able to make tough decisions in a timely manner to avoid greater losses.

Game development in line with the market and audience

Uzelac from 2X2 Games emphasized how important it is to know your niche and audience. According to him, simply making a good game is not enough: "There are plenty of phenomenal games that have absolutely failed because they couldn't reach the right audience. It's not enough to make a game, release it into the world, and hope for the best. You have to listen to players and adapt to their feedback." Uzelac highlighted the importance of market research before starting a project, which allows developers to identify their users and their expectations.

Barbir from Pine Studio added to this, mentioning his own experience where their projects went through various stages of development and adaptation: "We started with mini-games that we sold without our name anywhere on them. Our goal was to learn and improve until we were ready for bigger projects." This approach allowed them to gradually rise in the industry, and later they managed to have their games among the most popular on platforms like the App Store and Google Play.

Long-term planning and goals

The speakers agreed that one of the biggest challenges for game dev studios is to maintain a <strongstrong long-term vision and not lose focus</strong. Murat emphasized that the key to long-term success is not only developing games but also investing in people and creating a sustainable work atmosphere: “Game development is not a sprint, but a marathon. It is necessary to build teams that can endure long-term projects, and this is achieved through a stable work culture and constant investment in employee development.”

Uzelac also added that it is crucial to set realistic goals for each project: “You need to know what you want to achieve, but also when it’s time to finish the project,” he said. Sometimes the biggest challenge is recognizing when it's necessary to abandon an idea that isn’t yielding results, which is a skill that, according to Uzelac, is difficult to acquire but essential for long-term success.

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The program started at 9 AM and ended with a late-night gathering at the Old School bar. In addition to various panels on interesting topics, three workshops were held, as well as the AV Career Day – a special program aimed at anyone wanting to learn more about finding jobs in the film and video game industries. With rich content and the presence of many well-known faces from these industries, the Croatian film and gaming scene perfectly connected, creating a new platform for discussion on current topics.

The interesting panels that attracted attention were Crossmedia and Transmedia: from film to video games and from video games to film, with speakers Aleksandar Gavrilović (Gamechuck / CGDA), Hrvoje Mitić (Games Scout), Ivan Murat (Nanobit), Peđa Čačić (Protopixel), and Dr. Ilija Barišić. Additionally, the panel Global Successes of Croatian Video Games gathered Boris Barbira (Pine Studio), Davor Hunski (Croteam), Tomislav Uzelac (2X2 Games), Murat (Nanobit), and Marijo Mihoković (LGM & Overseer Games).

In addition to the mentioned panels, the following games were also presented: The Dunkers (Pet Rusa), Dark Queen (Downtown Game studio), Bura: The Way the Wind Blows (Tiny Meow studio), and Professor Baltazar (Gamechuck).

The Blender conference was organized by the Zagreb Film Office and Games Croatia (HAVC), with the aim of developing the Croatian video game industry at all levels. The conference was held with the support of partners such as Algebra University, the City Office for Culture, the Zagreb Tourist Board, and numerous film and gaming associations, including HDFK, HDFD, CGDA, and the Croatian Esports Federation.

The post Bili smo na Blender: Film & Games konferenciji u Zagrebu first appeared on IndieGames.

The Blender conference is organized by Zagreb Film Office and Games Croatia (HAVC). The Games Croatia project is aimed at promoting and further developing the Croatian video game industry at the national, European, and global levels, all with the goal of fostering growth in this rapidly growing sector through promotion at international fairs and conferences. Additionally, the conference is held with the support of partners Algebra University, the City Office for Culture and Civil Society, and the Zagreb Tourist Board. Significant support has also been provided by film and gaming associations: HDFK, HDFD, CGDA, the Croatian Esports Federation, Reboot, Hu-iz-vi, PISMO, as well as the brewery Međimurski lepi dečki, Free Spirit Distillery, and GameBoost Energy.

This year, for the first time as part of the conference, the Day of Audiovisual Careers is being held, which is intended for everyone who wants a career in film or video game creation. The following companies and educational institutions will present their programs at the promotional booths in the foyer of Algebra University:

• Presentation of video games: The Dunkers (Pet Rusa), Dark Queen (Downtown Game studio), Bura: The Way the Wind Blows (Tiny Meow studio), Professor Balthazar (Gamechuck)
• Academy of Dramatic Arts (ADU) / VERN University / Algebra University / PISMO Incubator / Games Croatia, HAVC

Below, we highlight some of the panels that visitors will be able to attend tomorrow:

• First Croatian Feature Film about the Legend of Sports – Dražen // speakers: Ivor Šiber, Jučer d.o.o / Ljubo Zdjelarević, Kinoteka // Moderator: doc. dr. sc. Boško Picula, Faculty of Political Science
• How we create sets for world film hits! // speakers: Naomi Liston (Belfast, Ireland) / Klaus Grosse Darrlemann (Berlin, Germany); Location managers of hits such as: The Grand Budapest Hotel, Game of Thrones, Avengers: Endgame, Game of Thrones: The Last Watch, and Red Sparrow // Moderator: Mia Pećina Drašković, Zagreb Film Office.
• Global successes of Croatian video games // speakers: Boris Barbir, Pine Studio / Davor Hunski, Croteam / Tomislav Uzelac, 2X2 Games / Ivan Murat, Nanobit / Mario Mihoković, LGM & Overseer Games // Moderator: Dunja Trojan, Broadcast.hr

• Virtual Production: Using Game Engines in the Production of Feature Films, Series, TV Programs // speakers: Antonio Nuić, film director / Jurica Šimunković, Digital Dynamics & Novalis Europe / Hrvoje Boljkovac, Light Film International / Boris Hergešić, Livada Produkcija / Andrija Zorić, Algebra University / Armin Konjalić, LED Unit (Riga, Latvia) // Moderator: Velimir Grgić, Pulsar Produkcija
• The Man Who Could Not Be Silent – Croatian candidate for the 97th Oscar and the first Croatian film to win the Palme d'Or at Cannes! // Nebojša Slijepčević, director // Moderator: dr. sc. Višnja Pentić / filmologist and film critic
• Sound Design and Music – Similarities and Differences in Sound and Music Design for Films and Video Games // speakers: Ivan Zelić, sound designer / Dalibor Grubačević, composer / Davor Manojlović, composer / Ana Krstajić, composer (Belgrade, Serbia) // Moderator: Damjan Mravunac, composer and sound designer

• Where to get educated for work in the audiovisual industry? // Speakers: Academy of Dramatic Arts, Vice Dean for Teaching, Mato Ilijić / PISMO Incubator, Incubator Manager Vlado Vujica / Algebra University, Assistant Professor Predrag Šuka, Head of Multimedia Production Studies / VERN University, Head of Film, Television and Multimedia Design Studies, Assistant Professor Dr. Ozana Ramljak // Moderator: Antonija Mandić
• Game designer / Game director and film director: Creative blending of direction // Davor Hunski, Croteam / Boris Vuković, film director & game designer / Rea Budić, Tiny Meow studio / Filip Zadro, film director / Tea Stepanić, BlackMill Games // Moderator: Igor Belan, HCL.hr

Three workshops will be held in special halls:

• How to realize a script for a hit movie? // Workshop leader: Branko Ružić // from 9:45 AM to 1:15 PM
• How to create a script for a hit video game? // Workshop leader: Siniša Bahun // from 2:30 PM to 6 PM
• FILM & GAMING: From 2D photo to 3D world // Workshop leader: Ivan Šivak // from 10 AM to 1:30 PM

Registration starts at 8:30 AM, and the program runs from 9:00 AM to 6:00 PM. All news about the conference can be followed on the official conference website and on social media: Instagram and Facebook page of the conference.

The post Sutra se održava prva konferencija koja spaja film i gaming – Blender: Film & Games! first appeared on IndieGames.

His experience in this technique includes the use of special sensor suits that record the movements of actors, and this data is then used to animate characters in digital projects. He works as a MoCap producer at the Digital Kinetics studio in Zagreb, one of the most advanced motion capture studios in the region. The studio is equipped with top-notch technology, including Vicon Valkyrie cameras, allowing for high precision and quality of recorded movements.

Krstovski is also known for his work on numerous projects in the video game industry, as well as for film and advertising campaigns, and he actively participates in educational workshops and presentations on MoCap technology.

After five successful editions of the PROFilm Days conference, the Croatian film and video game industries are merging to create a new platform for discussing current topics – Blender: Film & Games. The conference will be held on October 4, 2024, at Algebra University, and the panels and workshops are free for all interested participants, with prior registration open until October 3 at 6:00 PM via this link. The program will take place across two stages and in workshop rooms, while the lobby of Algebra University will host the AV Career Day, providing interested participants with information on career opportunities in the audiovisual industry.

The post Veselin Krstovski približit će Motion Capture tehnologiju na Blender: Film & Games konferenciji first appeared on IndieGames.

He graduated in film directing from the Academy of Dramatic Art in Zagreb. He has made a name for himself as the author of documentary films such as Gangster te voli (2013) and Srbenka (2018), which have been screened at numerous international film festivals. For Srbenka, which deals with themes of war trauma and national identity, he has won many awards, including the annual state award Vladimir Nazor for the best film achievement in 2018.

His work is characterized by an exploration of complex interpersonal relationships and social issues, often reflecting on events from Croatia's wartime past and the region. Slijepčević's latest film, The Man Who Could Not Be Silent, won the prestigious Palme d'Or at the Cannes Film Festival in 2024, making him the first Croatian director to achieve this.

After five successful editions of the PROFilm Days conference, the Croatian film and video game industries are merging to create a new platform for discussing current topics – Blender: Film & Games. The conference will be held on October 4, 2024, at Algebra University, and the panels and workshops are free for all interested participants, with prior registration open until October 3 at 6:00 PM via this link. The program will take place across two stages and in workshop rooms, while the lobby of Algebra University will host the AV Career Day, providing interested participants with information on career opportunities in the audiovisual industry.

The post Hrvatski filmski redatelj Nebojša Slijepčević dolazi na Blender: Film & Games first appeared on IndieGames.

Murat joined the company at the end of 2021 as the Chief Operating Officer, and in January 2023, he took over the leading position after co-founders Alan Sumina and Zoran Vučinić decided to step back from operational roles.

Before joining Nanobit, Murat worked at companies like Sedam IT and Končar, where he gained significant experience in managing business operations. As the director of Nanobit, he oversees the growth of the company, which is now part of the Swedish group Stillfront. Ivan Murat is also the president of the Croatian Game Development Alliance (CGDA), an organization that brings together Croatian video game developers. He took on this role in 2022.

After five successful editions of the PROFilm Days conference, the Croatian film and video game industries are merging to create a new platform for discussing current topics – Blender: Film & Games. The conference will be held on October 4, 2024, at Algebra University, and the panels and workshops are free for all interested participants, with prior registration open until October 3 at 6:00 PM via this link. The program will take place across two stages and in workshop rooms, while the lobby of Algebra University will host the AV Career Day, providing interested participants with information on career opportunities in the audiovisual industry.

The post Direktor Nanobita Ivan Murat sudjelovat će u panelu o igrama i filmovima na konferenciji Blender: Film & Games first appeared on IndieGames.