Animation in two directions – Eszterházy Károly Catholic University

At Eszterházy Károly Catholic University in Eger, students can study animation through two distinct programs. The bachelor’s degree in Graphic Design at the Media and Design Institute (MDI) offers a specialisation in Animation Design starting in the second year.

“Anyone with an interest in multimedia will find the MDI course very exciting,” says Levente Sipos, graphic artist and animation specialist. An adjunct professor at the Institute of Media and Design, he played a major role in relaunching the animation specialisation. Although animation graduates often work in teams, even on larger productions, they each create their own diploma film at the end of the BA program. These films are regularly featured at Hungarian festivals such as Primanima and KAFF, and have also been showcased at international festivals, including Animatiba in Brazil and Fantoche in Switzerland.

“In addition to diligence, you need a good eye and a sense of taste to develop professionally,” says Sipos. Alongside essential technical skills, students also study the history of art, animation, and graphic design to develop an artistic vision. “Animation is a technical sport, but there’s no substitute for a human being,” he adds, referring to the AI-based tools that students are also encouraged to experiment with.

As practicing animation professionals, the teachers regularly involve students in their projects – several worked on Milorad Krstić’s Ruben Brandt, Collector at Sipos’s initiative, and the same now applies to the director’s new film, MouMoush – The King of Plastic.

One of the strengths of this interdisciplinary degree is its focus on drawing, with strong emphasis on visual design, graphic design, typography, and motion design, alongside animation design. At the same time, the Faculty of Arts is planning to launch a standalone animation degree.

The Institute of Film Art’s bachelor’s program, Film Culture and Media Studies, approaches animation from a different angle: directing and scriptwriting. Students can choose to specialise in filmmaking (directing and cinematography), scriptwriting, or editing – allowing a small crew to form within a single class, says Éva M. Tóth, director of the institute and animation filmmaker. She recommends the program to those interested in cinema as a whole, who enjoy exploring boundaries and thinking experimentally.

Everyone takes a few courses in animation – some find it challenging, but the knowledge proves invaluable later when dealing with intermedial situations. Out of a class of 30 students, only 2 or 3 choose to create a diploma film in animation. This process typically takes longer than average, as they usually work on it solo, but the result is always spectacular: complex and cinematic.

The students’ films are regularly featured in the programs of festivals such as Busho, Friss Hús, KAFF, and ATAFF, and they also have the opportunity to intern at the latter festival. Most recently, the university had its own section at the Visegrad Film Forum. Students also regularly travel abroad for study trips to attend festivals. There are ongoing collaborations with service providers, cinemas, and television stations, most recently with the Kunsthalle animation exhibition. After graduating with a BA, students can choose to pursue the Institute’s Art Instructor master’s program, continue their studies at another university, or enter the workforce – many go on to work in television, while others focus on art mediation or teaching.

“Sooner or later, there will be a degree in animation in Eger,” says Éva M. Tóth. “The expertise is in place, the formal requirements are being met, and the infrastructure just needs to be established.” The animation courses are taught by animation director Viktória Traub and Tibor Tóth, with support from other teachers and film professionals, including Zsuzsanna Bak, Máté Balogh, and Fanni Szilágyi.

See you at the next festival! – Moholy-Nagy University of Art and Design

Moholy-Nagy University of Art and Design (MOME) has been offering animation courses since 1980. Over the past 45 years, it has become the most prestigious animation school in Hungary. After a competitive admission process with high oversubscription, 16 students are selected for the bachelor’s program, explains Orsolya Sipos, producer and BA supervisor. The program seeks individual voices with a flair for storytelling, and excellent drawing skills are a prerequisite. While attending a preparatory course is recommended for successful admission, there are exceptions. “Every year, students come more and more prepared,” says Tibor Bánóczki, Director of White Plastic Sky and MA supervisor. “They themselves raise the required level.”

The aim of the bachelor’s program is to expose students to as many techniques as possible and give them a taste of various roles, allowing them to decide what they want to specialise in, says Sipos. BA graduates can either start working in animation or apply for a master’s degree. The MA program, offered in English, admits 10-15 students. A successful career at MOME requires talent, skill, and perseverance, with the primary goal being to become an artist. “MOME’s mission is to produce top professionals,” says Bánóczki. To achieve this, they focus on shaping students’ taste and attitude. Students are also being prepared for new challenges, such as artificial intelligence, which is set to redefine what animation means.

The development of a national and international professional network is crucial. This is supported by the Film Knowledge Centre, which, in addition to producing diploma films and managing extensive application activities, also organizes its own festival and nominates students to festivals abroad, says Zsuzsanna Vincze, Director of the Knowledge Centre. This year, for example, Mirjána Balogh’s film Wish You Were Ear won the Crystal Bear Award at the Berlinale, a success for both the film and the Knowledge Centre. “There is one level, the world level, and that’s where they have to succeed,” says Vincze, noting that the Hungarian market cannot always absorb so much talent, with many students finding work abroad. In addition to working on each other’s films, students can also participate in live projects. Companies and film festivals often approach the university directly, but the Knowledge Centre is also proactively seeking partners, particularly those supporting socially important causes. “Students don’t live in a MOME bubble; we train them for what awaits them in the outside world,” says Bánóczki.

There is clearly a distinct style associated with MOME, but it is constantly evolving. According to Bánóczki, it is not the teachers who dictate this style, but the students who influence one another – and that’s what makes MOME animation a brand. MOME animations tend to be more surreal, deeper, and far from commercial. Today’s students are more outspoken than those in the 80s and 90s, and instead of using an allegorical style, they openly address their own issues.

Teamwork in a professional environment – Budapest Metropolitan University

Budapest Metropolitan University (METU), a private institution, offers numerous opportunities for those interested in visual arts, with animation being one of the most popular fields. The bachelor’s program is available in both English and Hungarian, with an average of 30 students per year. State-funded places are also available in the master’s program, which admits around 15 students annually. “We impart practical knowledge, placing a strong emphasis on professional training as well as creative thinking,” says Melinda Kiss, animation designer and head of the Department of Animation and Media Design. The university boasts up-to-date technical resources, and students can borrow equipment for their assignments.

The teaching staff includes Áron Gauder (Four Souls of Coyote) and László Csáki (Pelikan Blue). The BA program offers specializations in creative and 3D animation. 3D animation requires strong software skills, logical thinking, and precision, while creative animation focuses on stop-motion and 2D techniques, storytelling, and film development. Sound, as a crucial component of motion pictures, is also an integral part of the training. In the MA program, students engage with real-world requests, integrated into the coursework: they have created festival spots, book trailers, and short films promoting reading. According to Kiss, these applied tasks serve as an excellent model for meeting client expectations with a high professional standard.

Diploma films are created in teams, with the initiator taking on the role of director, around whom a crew is assembled. Students experience both the benefits and challenges of collaboration, as well as how to adapt an artistic concept. They will encounter similar challenges in their careers, making this process an excellent exercise in self-awareness and an essential part of their professional preparation.

According to the head of the department, there is no specific METU style in animation, though generational trends are apparent: “Some are drawn to the auteur world of festival films, while others opt for a more popular style – we support both, as both have a place in the film industry,” says Kiss. Graduates find work at studios in Hungary and abroad or join independent projects. “In a career, it’s advantageous to have soft skills as well as professional knowledge, and to understand both the written and unwritten rules of the animation industry,” concludes Melinda Kiss.

From career guidance to extension courses – Animation trainings at the National Film Institute

The National Film Institute’s Training Directorate supports the professional development of film industry workers in various ways, with a particular focus on animation. Those interested in career guidance can explore an interactive map of animation professions on the website, where they can learn about different fields and their representatives through detailed descriptions and videos.

The Fast Forward Programme (FFP) often focuses on animation, recently hosting Jill Gilbert and Rob Doherty, who discussed global-local opportunities and challenges. Sibylle Kurz is an annual speaker at the program, where participants can learn the art of pitching – an essential skill for animation directors. Many return to the lectures for networking opportunities as well: successful collaborations have been established during breaks between FFP sessions. According to Eszter Lányi, Director of Training, the program aims to create a dynamic network among national and international professionals while also broadening the horizons of film students and young professionals.

The annual FFP Film Camp brings together young people aged 18–35 with an interest in motion pictures to collaborate on creative projects. Over the course of ten days, in a special environment far from Budapest, participants work in small groups. The animation group is mentored by László Csáki, director of Pelikan Blue.

The Training Directorate supports the development of professionals through a call for proposals, mapping out areas of shortage in collaboration with producers. In the animation field, they have previously supported training for CGI specialists and storyboard artists.

“We aim to support everyone in the way that suits them best: some want to learn a new profession at a lower cost, others seek to gain experience and confidence in their work, while some are looking for adventure,” explains Eszter Lányi. Their next major initiative is to launch a call for proposals to support the training of Hungarian professionals abroad, hopefully in 2025.

Lilla Gyöngyösi