I received an invitation to tender for the visual framework of the Kékkör TV film series. This topic is particularly meaningful to me, as I love nature and am a great admirer of the classic series "Másfélmillió lépés Magyarországon" (One and a Half Million Steps in Hungary). Given the scope of the project, I involved Csuth Péter (aka Robinson Cursor), an art director and graphic designer, already at the concept development stage.
We prepared four different concepts for the tender. Fortunately, we were able to continue developing the ideas together with the director, and in the end we selected not just a single main direction, but a hybrid approach that combined three distinct creative directions.
Precision was critical when creating the 3D map. First, the 2D animations were created in After Effects. These were then mapped onto a simple grid in Cinema 4D, using the 2D animations as textures. The topographic map of Hungary was downloaded in high resolution directly from NASA’s website. The most challenging part of the process was aligning the familiar visuals of Google Maps with real-world terrain data.
For the daily stage maps, I aimed to reproduce the route as accurately as possible. The main character, Balázs Simonyi, wore a watch that recorded GPS data while running along the hiking trail. By importing this data into 3D software, I was able to reconstruct the exact route along with its elevation profile, which was then overlaid onto high-resolution satellite terrain maps from NASA.
The style of the name and location tags was designed to evoke the atmosphere of an archival era, when everything was mounted on thick cardboard or hand-drawn along hiking routes.
During the production, we created more than 100 location map animations.
Certain episodes of the series were enhanced with VFX in post-production, which effectively illustrates
and complements the different types of content.
and complements the different types of content.
We created an animation for each stamp.
All the photos appearing in the film were mounted on rigid cardboard to give them a consistent look.
Art Direction & Animation: Robinson Cursor and Csekki
2025 — 2026