Hello and welcome to my website!My name is Kristof Kiraly and I am a Visual Effects artist with over 15 years of experience in VFX for movies, feature animation, TV commercials, and 3D product visualisation.I am currently working at DNEG Feature Animation in London as an Environment Generalist Technical Director / Digital Matte Painter, focusing on creating beautiful (and sometimes not so beautiful) digital environments.I am passionate about my work and always try to keep up with the latest trends and technologies. I am keen on learning new techniques and developing both my technical and artistic skills and I also enjoy learning the fundamentals of movie making such as lighting, cinematography and visual composition.I'm a self-taught photographer which greatly complements my work in visual effects.In my free time I enjoy going for long walks or travel greater distances to discover the beauty of the nature.Thanks for checking in and please feel free to get in touch on LinkedIn or via email.Cheers, thanks, bye! :)
Some of the movies I worked on:
DNEG Feature Animation
● I can't tell yet (DNEG) - 2025
● That Christmas (DNEG / Locksmith) - 2024
● Garfield (Sony / Columbia / Alcon) - 2024
● Under The Boardwalk (Paramount / Big Kid) - 2023
● Nimona (Netflix / Annapurna) - 2023
● Ron's Gone Wrong (20th Century / Locksmith) - 2021DNEG
● F9 - The Fast Saga (Universal) - 2021
● Brahmāstra (Dharma / Fox Star) - 2021
● The Legend of the Mermaid 2 - 2022
● The Kid Who Would Be King (20th Century Fox) - 2019
● Pacific Rim Uprising (Universal) - 2018
● Thor: Ragnarok (Marvel) - 2017
● Assassins Creed (Regancy/Ubisoft) - 2016
● Alice Through The Looking Glass (Disney) - 2016
● Spectre (James Bond) (Columbia) - 2015
● Mission: Impossible - Rogue Nation (Paramount) - 2015Moving Picture Company
● The Martian (20th Century Fox) - 2015
● The Jungle Book (Disney) - 2015
● Guardians of the Galaxy (Marvel) - 2014
● Maleficent (Disney) - 2014
● 300 Rise of an Empire (Warner Bros.) - 2014
● Thor: The Dark World (Marvel) 2013
● 47 Ronin (Universal) - 2013
● Percy Jackson: Sea of Monsters (20th Century) - 2013GYAR Post Production
● The Curse of Chucky (Universal) - 2013
● Death Race: Inferno (Capital Arts) - 2008
● Blue Crush 2 (Universal) - 2011
● Death Race 2 (Universal) - 2010
● Svik (The Betrayal) (Alphaville) - 2009
THAT CHRISTMAS
DNEG / Locksmith - NETFLIX 2024
Working on That Christmas was an incredibly rewarding experience. Not only did it turn out to be a visually stunning piece, but it also captured the essence of a heartwarming Christmas story while being genuinely funny too.The look of picture was driven by Art Director, Mike Redman and Production Designer, Justin Hutchinson-Chatburn. Their gorgeous artworks were the real rocket fuel that propelled and inspired everyone on the show to push our limits. I really hope I'll have more chance to work with them in the future.My role involved creating digital matte paintings, sky timelapses, projections, set extensions, and CG paintovers. Each task added its own layer of detail to the film, helping to bring the world to life. It was a pleasure to contribute to something so full of charm and holiday magic.Tools used: Photoshop, Nuke, Maya
THE GARFIELD MOVIE
DNEG / ALCON - COLUMBIA PICTURES 2024
The Garfield Movie was one of the most exciting projects I've ever been a part of!I started on the build team, creating 3D assets in Houdini. One of the trickiest—and coolest—things I worked on was the Mile High Bridge. It started as a single curve handed over from the Layout department and ended up almost entirely procedurally built. That really paid off when the director decided to cut the bridge's length in half. If I had modeled it traditionally in Maya, I would have been in a real pickle. But since it was procedural, tweaking it wasn't a big deal. Houdini saved the day for us!For the train ride sequence, I also created procedural cliff walls and filled the train tracks with small rocks. It was all about adding those little details that bring a scene to life.After wrapping up in build, I switched over to the matte painting department. There, I worked on skies, trees, vegetation, set extensions for the lactose factory, and even some paintovers and 2.5D projections for the camper van.At one point, I even helped out the layout team by roughing out a canal and bridge for a nighttime scene. Every day brought something new, and I loved the variety. It kept me on my toes and constantly challenged me—which is exactly how I like it!Tools used: Houdini, Katana, Nuke, Maya, Photoshop
