When The Hungarian Dressmaker was selected as Slovakia’s submission for the 2024 Academy Awards, it wasn’t just a win for the country’s film scene—it was also a showcase of what Central Europe’s VFX talent can achieve under pressure. For PFX, the Prague-headquartered post-production powerhouse with offices across six countries, the project was a chance to push its in-house pipeline and cross-border workflow to new heights.
We spoke with Tibor Meliš (VFX Supervisor) and Tomáš Srovnal (VFX and Post-production Producer) about recreating wartime Bratislava in pixels, managing crowds and chaos with procedural logic, lighting bus scenes with LED walls, and what happens when a cornfield refuses to catch fire at 5 AM. Spoiler: compositing wins. DP: What was your initial reaction to being selected as Slovakia’s Oscar entry, and how did this impact your approach to the VFX work?Tibor Meliš: I was very happy about it. This film was a very exciting journey, as the creative core of the production ...
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