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The fairytale musical that will transport you to the fantasy world of The Nutcracker, which is in danger...Directed by Andrei Konchalovsky. Post-production studio UPP - 2007-2008


  • HCC Media GroupProdukt.

  •  Impact Pictures


  • Andrej Končalovskij


  • Universal Production Partners (UPP)

Crew / presented shots

  • Jan Bubeníček
    (Lead, 3D generalist, Animator)

  • Viktor Plch
    (TD, lighting artist)

  • Lukáš Duběda
    (TD, 3D generalist)

  • Tomáš Král
    (3D generalist, Character artist)

  • Jan Jinda
    (3D generalist, 3D Asset artist)

  • Jiří Adamec
    (3D generalist, Character artist)

  • Jarka Chalasová
    (Texture artist)

  • Vít Budín
    (3D generalist, Character artist)

  • Jan Brukner
    (3D generalist, Lead texture artist, 3D Matte painter)

What I Did

  • 3D modelling (Architecture, assets)

  • 3D Texturing (texturing characters, doubles, vehicles, buildings, environments)

  • 3D Matte painting (urban environments)


atmosphere of Christmas
with sound of Tchaikovsky's music...

An adventurous fantasy musical set to the melodies of Peter Ilyich Tchaikovsky? In the biggest Czech film post-production studio, I participated in the creation of a digital fantasy world and its heroes together with a number of skilled creators.

In 2007 I was approached to expand the creative film team. This began an almost two-year collaboration with UPP studio. The actual realization of the post-production of the VFX film was a great school and experience for me. I met many top professionals/experts and excellent artists here. Some periods of (post)production were periods of borderline stress, other times a nice creative relaxation.


Initially, I was working on 3D urban type set extensions (3Dmodelling of architecture). Then I specialized as a texture artist and 3D matte painter. The project itself with its fantasy environments, imaginative and fantastic characters was a real fun at times. The (post)production work on The Nutcracker took about a year. During this time, a well-established team of people was formed and a large part of us stayed on to work with UPP on other film projects.

Examples of shots I collaborated on 3D textures and 3D matte painting


Ratdog / Texturing

One of the most intense pieces of work for me was painting and sculpting hyper-detailed "robot ratdog" materials. The models were realized by Vít Budín. Together with Viktor Plch we realized dynamic 3D textures. I combined work with BodyPaint 3D and ZBrush.


Architecture / 3D /Matte painting / Texturing

The work we all started with in the team was the realization of a series of 3D buildings to populate the big fantasy city of the Nutcracker fairy tale world. I later moved from the classic 3D modeling we did based on detailed architectural plans and models to 3D matte painting. At that time, I improved this technology with additional levels of projection painting (Projection man / camera mapping in C4D) and trained other colleagues in it.

Characters texturing

As the project progressed, I became the main 3D texture artist, training other colleagues in the then modern Cinema 4D BodyPaint 3D system and painting. So I realized digital 3D painting on architecture, steampunk machines. Textured doublers of actors. Brought to life the surfaces of fantastical characters and other creatures.


The film was finished, the studio, filmmakers and others were waiting for its release. The release of The Nutcracker in theaters was postponed and its name and subtitles changed many times. The delay was certainly not helped by the fact that the investor apparently decided to retrofit the complete film from its original 2D format to the 3D stereoscopic format popularized by the just-released Avatar 3D in 2009. The conversion of the film into 3D was already done outside the UPP studio. In my personal opinion, the project itself was not conceived for this form from the beginning and it hurt it technically. Thus, this gave The Nutcracker the 3D moniker and later, in response, the not-so-famous nomination of "Worst Eye-Gouging Mis-Use of 3D", as did, for example, Clash of the Titans and many others who failed to understand the philosophy of pre-production and the laboriousness of real 3D stereoscopy.

idea maker
visual  artist
creative director

Contact me

  • CELL : +420 721235897
  • MAIL : This email address is being protected from spambots. You need JavaScript enabled to view it.

    Prague / Czech Republic
    Central Europe

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