ORIGO DIGITAL

with WeareEnigma

Origo Studios is one of the largest film production centers in Hungary and Central Europe. It has hosted Hollywood productions like

  • Dune
  • Blade Runner 2049
  • The Martian
  • The Witcher (Netflix)
  • and Moon Knight (Marvel)

It was a great honor when WeAre Enigma asked me to create the 3D and VFX work for the Origo Digital image film division of Origo Studio.
The film was shown in 2025 at the Berlinale – European Film Market, at Origo’s own booth.

The Berlinale EFM is one of Europe’s top film industry events. Being featured there means strong professional recognition and responsibility.

Origo Digital handles the full post-production workflow (editing, color grading, sound) for these films with full data security.


Our film showcased not only the creative but also the technical, robust, and industrial strength of the division. It was made in cinema quality, which is a huge honor for me. Seeing my work on the big screen was an amazing experience.

FULL VIDEO HERE

The Map & Security

The first scene shows the layout of the area and the three-level security access system. In the first part, we see the number and placement of the buildings. In the second part, camera footage reveals the security gate, barrier, access card system, and an earth berm designed to block outside visibility.

The Cameras

The studio is equipped to handle both analog and digital camera workflows. On one side, data is transferred via optical cable directly to the server (blue), while on the other, the process starts from traditional film stock (represented by a yellow film strip as data input). Both data are reaching its end point.

Digitalization

After focusing on the analog workflow, we see frames being digitized from the film reel. The footage on the reel is in negative and has a different aspect ratio, typically closer to 4:3 or native full-frame formats used in film scans. During the digitization process, each frame is scanned, automatically converted to a positive image, and stretched or cropped to match the desired aspect ratio — usually 16:9 or cinematic widescreen.

Film Scanning

One of the world’s most advanced film scanners — the ARRISCAN — is available at the studio. It supports high-resolution scanning up to 6K, with a scanning speed of around 20 frames per second, depending on the resolution and mode. I recreated the feed-in mechanism of the scanner in animation, which then transitions seamlessly from 3D to real footage using a smooth match cut.

Dark Fiber

The scanning process produces 117 MB per frame, which at 20 frames per second results in an enormous amount of data. This data is instantly transferred to the central server — the same one that receives footage from the digital camera pipeline. In this scene, we see the scanned film data (yellow) merge with the digital camera data (blue) as they flow together toward the server.

Server

The massive data is first written onto a 700TB scalable HP Qumulo server, optimized for high-speed transfers. Here, the system automatically creates backups and low-res proxy versions of the raw footage. These are then safely transferred to an Isilon petabyte-scale storage server, ensuring long-term storage. All of this happens with full data security. Inside the studio, a dark fiber network makes any external access to the footage impossible. The only way to share content externally is through encrypted online streaming.

Streaming

The studio is able to securely share selected content for preview with partners anywhere in the world.

Flexible Pipeline

The studio develops a custom pipeline for each film, sometimes requiring entirely unique workflows. At the same time, it can also work with industry-standard methods based on major corporate or international protocols. The approach is always flexible, yet carefully structured and precise, ensuring well-organized and efficient processes.

Power Supply

The main building’s power supply is secured on multiple levels. It’s connected to two independent main power lines—if one fails, the UPS room automatically switches to the other. If both fail, the system switches to two diesel generators, which can fully power the entire facility. The building, recreated based on the original floor plan, also includes a scalable HP GreenLake server room.

Projector Room

The projection room is equipped with both analog and digital projectors, fully compliant with today’s highest cinematic standards.

The Main Building

The transition to the main building at the end was also modeled based on the actual floor plan, highlighting the digital infrastructure and emphasizing the modern nature of the post-production process.

Transitions

The advertisement incorporates numerous hybrid solutions and frequent transitions from reality to 3D and vice versa. These transitions were made seamless through tracking and camera smoothing techniques.

Tracking

The motion-tracked titles were also an important tool for delivering the film’s key messages.

Teamwork

I had the chance to be present during the shoot and even appear briefly in the commercial. It was a great experience to work alongside some of Hungary’s top professionals — a truly impressive and highly skilled team.

Credits

Direction & Production
WeareEngima


3D, VFX, Design
MotionTech – 3D animations


Client
Origo Digital

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