As a producer of animated films, the studio has been becoming more and more known publicly. The plan succeeded. We did the commercials, the game intros, etc. but we felt like something was always missing…
…What was it?
We spent a lot of time searching for the accompanying music of the works, choosing the right narrators, dubbed actors, arranging the dates of the sound studios, before we realized that all this means unnecessary extra expenses in the budget.
We found that we pay undeservedly little attention to the rule that the “sound” of a film determines the ultimate quality by 50 percent. If the sound of the film is so important, then our aim should be to produce excellent quality sound with less expenses. Therefore, we decided to build our own SOUND STUDIO 4 years ago!
The room was built with the help of acoustic specialists, and we can proudly mention that some of the Ionart team members also helped with the construction. Curiously, under the sponge layer covering the walls, in some places the fingerprints, DNA traces and even signatures of the creators can be seen, but solely for this reason no one should start peeling the studio walls. After completion, we began using the new “miracle weapon” almost immediately. A V.O. activity has been going on ever since, sadly the COVID-19 virus interrupted the work a bit. At the moment we continue our work in internet “home office” mode. Most of our productions use this service.
Interview with our vfx supervisor about his previous experiences
24 February 2020
Balázs Drenkovics is our visual effects supervisor, who has worked on numerous globally successful projects. He joined Ionart in 2017. He was nominated for both the Visual Effects Oscar and the BAFTA Film Award for his work onIron Man 3. We invited him for an interview to talk about his life, work, and views on design.
I started off doing 3D modeling at a small Hungarian company in Budapest. We made games for Nintendo consoles (Tomb Raider: Legend, Hot Wheels). Then I got a job in the movie business, where I worked on some low-budget animation films and series. After that, I managed to get into the commercial and game cinematic business, where I gained a lot of practical knowledge. It was at that time I got a job offer from Trixter, and MPC Vancouver. Afterwards I was managing the effects department of Digic Pictures, where we made a lot of cinematic game trailers including The Witcher 3 and Call of Duty. The past three years I have been a part of the Ionart team as co-owner and vfx supervisor.
The biggest project I was involved in were Avengers: Age of Ultron and Iron Man 3 at Trixter as the Lead Visual Effects Technical Director. Trixter is a medium sized company based in Munich and Berlin, but I spent two and a half years in their office. During that time I worked on several famous Marvel movies, such as Iron Man and Captain America. I took part in the production of White House Down.When I joined Trixter, the team had already started working on Iron Man 3. Before joining the project, I had only had experience in the games and commercial business, so movies were totally new for me. We only had six weeks for the connecting sequence. That was the first time when Marvel showed Iron Man’s new armor. The design and model was created by the Trixter art department. My main role on this project was to work on Iron Man’s jet system and other parts’ effects. The six weeks of the project was challenging, but I received a contract extension afterwards, and I stayed a little while longer.