About Crater Studio

Crater Studio was established back in 2005, when a team of young and talented enthusiasts gathered to produce visual effects and animation sequences for the feature film Tears for Sale. This project was not just a turning point for our studio but also for future work in Serbia in the field of visual effects and animation. It was a unique experience that made us work even harder in order to further master our craft in this innovative and thriving industry.

Our love for film and visual effects and our astounded audiences, motivated us to step out of Serbian borders. Today with the same passion and commitment, we are working on Hollywood productions with groundbreaking directors.

The magic of moving images inspires us on a daily basis, and motivates us to work in accordance with the highest technical standards. Every project that we undertake, we approach with dedication and professionalism, in order to be better and more successful than in the previous one. We believe that VFX industry is a field where constant learning is a must.

Inspired by our love for film and our country we have chosen to create a studio in Serbia, with a vision and goal to develop the VFX industry in our country. Our dream is to place Serbia on the world map of the VFX industry, making our talent, and professionalism recognizable.

We know that the stories from your dreams could be told by visual effects, let us help you tell your story.


Crater Crew

We know that without quality team work there would be little success in the VFX industry. For this reason we have been carefully building the Crater Studio crew from day one. The work of our employees is a reflection of this success. We couldn't be more proud of the young people that have worked with us and gone on to work on big projects in some of the most renowned studios in the world including: 

• Animal Logic
• Brainstorm Digital
• Dr. D Studios
• Double Negative 
• Method Studios
• Prime Focus
• Rhino FX
• Rhythm & Hues Studios 
• Rising Sun Pictures 
• Sony Picture Imageworks
• Weta Digital Ltd.


Success stories

Momcilo Stojkovic, Compositing Artist, 2015

Hi, my name is Momcilo Stojkovic, I am 24 years old and working for the Moving Picture Company in their Montreal studio as a Compositor. My path towards MPC was long, unpredictable and very fun.

I went from a programming high school school to a couple of colleges, to two post-production studio's in Belgrade and finally ended up in Montreal.

From the age of 14 I was involved in programming but slowly started to work on visual effects in Adobe After Effects on the side and made video's which I later attached to Youtube. Three years later and a few million hits on YouTube, I decided that I wanted to do Motion Graphics. I started learning Adobe After Effects everyday via internet tutorials for five years.

Everything changed when I got a call from Crater Studio saying that they would like to show me what its like working in the visual effects field and to teach me the most popular compositing software, Nuke. The time I spent at Crater was great. I met people who are interested in similar things and I realized that I really do want to do visual effects. Thanks to the reference I got from Crater Studio, I received an amazing opportunity to study visual effects at the Vancouver Film School for Animation and Visual Effects.

During my studies in Vancouver, I had the opportunity to visit SIGGRAPH, a computer graphics and visual effects convention and to submit my demo reel to the Moving Picture Company recruiter.
Two months later I received an email from MPC saying that they would like me to be part of the next Academy for compositing. After two interviews and 8 months of waiting for a work permit for Canada, I finally began to work for MPC.

It's been a month since I started and I couldn't be happier. The work is very interesting, every day I'm learn something new and going home with a smile on my face.

Djordje Milasinovic, Compositing Artist, 2015 

After years of working in post-production as a 3D generalist/after effect artist/designer, Crater Studio had opened the door to the world of visual effects for me.

With Petar’s supervision, constructive criticism from colleagues, and thanks to the creative atmosphere and artists who constantly share their knowledge, I quickly grew into a mature compositing artist. Working on Hollywood movies, the pipeline itself and the organization and work ethic of the studio are the same as in some of the world's biggest studio’s, which helped me to quickly and easily fit in anywhere.

Crater Studio has launched a large number of talented people from different departments (modeling, animation, lighting, FX, compositing ...) who are currently working in prestigious studios around the world. Thanks to the experience I gained at Crater Studio, I worked for 2 years at UPP, in Prague, on projects such as Die Hard 5, Snowpiercer, Blackhat and more. AxisVFX in Bristol, where I worked on Shaun the Sheep the Movie, and now, at Double Negative in London, where I was worked on Exodus, Mad Max, Avengers: Age of Ultron, Terminator Genisys, Mission Impossible: Rogue Nation and more.

Whenever I can, gladly come back to Crater, because they always have some interesting projects in the works, a large number of young people, some even from other countries, who are currently working in studio, and it makes me smile because it means that in Serbia the industry is slowly going in the right direction. Crater Training Center is just the icing on the cake, because finally, young people have somewhere to be professionally trained and obtain information first-hand how their colleagues are doing around the world.

Marko Radinkovic, Senior Compositing Artist, 2015

I came to Crater Studio with several years of experience working in post-production of television commercials. Crater Studio was, at the time, the only studio in Serbia working on Hollywood films. Making the move to Crater Studio was certainly a turning point in my career and has allowed me to gain invaluable experience. A strength of the studio is the prioritization of individual talent while also encouraging a team spirit which helps keep us in tune with new technology and methods of computer graphics. I am currently a Senior Compositor at the Moving Picture Company Ltd. in London on such projects as the Guardians of the Galaxy, and Exodus: Gods and Kings.

Nemanja Stavric, Texturing and Lighting Artist, 2014

Crater Studio was a turning point in my VXF career. Working at Crater Studio allowed me to further develop and improve my skills through dedicated work. Supervisor of the studio, Petar Jovovic, was very helpful, because he was always opened for new ideas, and former ILM supervisor Gregor Lakner inspired us all during the filming of Shark Night 3D. Vast experience I gained working at Crater Studio for almost two years, helped me to improve my career, because later I worked on blockbusters such as Expendables 3, The Legend of Hercules, Olympus has Fallen and many other major and minor projects.

Milos Zuza, Compositing Artist, 2013

Die Hard, like every action film, involved a lot of work on each shot, starting from solving technical issues to looking for creative solutions. I had the opportunity to work on very interesting and challenging shots, the freedom to independently work on the look and feel of the shot and work my own ideas and suggestions into it which were generally well received. I enjoyed the confidence that the supervisor had in me to finish the job through to the end. That really meant a lot. However, that would not have been possible had I not gained experience at Crater Studio, which for me was a stepping stone into the working pipeline of a studio. Although I had a few years of experience in the VFX industry before Crater Studio, I think that it was really Crater Studio that was a stepping stone for me, and that it was working there on interesting projects in a friendly and cheerful atmosphere that I matured into the artist I am today.

While working at some larger studios abroad, I realized that Crater’s approach to work and projects is the same as in any other studio anywhere else in the world. When you go abroad after having work at Crater, you immediately feel at home, this helps you to quickly adapt to a new working environment. Also, you gain the experience and confidence necessary to realize that you, as an artist are on the same level as the others, and in some cases, better.

I also had the great fortune of working at Crater at the same time as Marko Milicevic, lead compositing artist, which benefited me because of his work ethic and project organization. Marko, who also started his career at Crater Studio before going abroad as well, is a man who selflessly shares his knowledge with anyone who shows serious interest in being a compositing artist. Given that he has a lot of experience on big projects, this proved to be a good combination and I learned a lot from him.  

And the supervisor Petar Jovovic had provided a lot of constructive support on various projects. I remember one conversation we had about how there is a lot to learn and explore and research in order to progress in our field. He said: "We research so much that I'm not sure whether we are a studio or a research center.’’ This comment had a very positive influence on me, because I met a lot of people who are good at what they do, with a constant desire to be even better, which is the only way to advance yourself in this field.

Vladimir Popovic, FX Technical Director, 2012

I worked at Crater Studio for over 2 years. During this period we worked on commercials, mainly for the foreign market, and on 2 high production films. Through the commercials, but especially through the films The Other Guys and Shark Night 3D, I acquired experience in teamwork and working with a large amount of high quality material, which I later used in creating a demo reel. All of this later proved useful and applicable in large companies all over the world. I currently work as the Effects Technical Director at Double Negative Ltd. in London.

Aleksandar Alex Djordjevic, Compositing Supervisor

Crater, and more specifically VFX supervisor Petar Jovovic, have allowed me to change my perception on how Jurassic Park, Lord of the Rings and other A list Hollywood productions are made. From the moment I arrived at Crater as an absolute beginner, up until the start of 2007 when I decided to continue my career in the USA, in less than a year and a half - I was completely ready to see each scene through from beginning to end as well as to liaise with various people, from the producer to the director. All of this was crucial in my relatively fast advancement from an average compositor to, today, compositing supervisor at Method Studios New York, a VFX company thanks to which I have added many blockbusters and prestigious award winning movies to my resume. Moreover, I am now a member of the New York board of directors of the Visual Effects Society, currently the only relevant organization of our industry. For all this I am grateful to the Crater Studio team in Belgrade, who opened for me the doors to the magical world of digital visual effects.

Gorana Kovacevic, Animation Artist, 2011

Many aspects of my job make it unique. Above all it provides total freedom of thought and life, alongside countless opportunities for creative expression. Seeing a character that you have made come to life before you, or watching an entire world unfold on the screen, is a truly priceless experience.

Marko Milicevic, Senior Compositing Artist2010

It was only after having worked at Crater Studio that I understood the essence of this job - to differentiate between what is important and what is not and to know how production functions in reality. Schools seldom manage to connect real production and education in the right manner. For this reason I recommend Crater VFX Training Center, a school that will incorporate into its courses all the knowledge and experience acquired from production. A new industry (one of the few that is growing) can't develop without the support of educational institutions. The knowledge I acquired at Crater enabled me to later work on global films, some of which include Life of Pi, Harry Potter, Wolfman and The Other Guys.


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