“Secret Level” is an animated anthology series for adults that features original stories from the sets of various well-known video games.
We sat down with Krisztián Sereg, Editorial Division Lead at DIGIC Pictures to hear how the DIGIC Team used Adobe Premiere Pro, After Effects, and Dynamic Link to assist the creation of complex animations for the “Secret Level” series.
The DIGIC Team utilized Premiere Pro in the 3D layout phase of animation creation and used it to establish timing and shot flow as their creative editing tool. Sereg personally relied on Premiere Pro in the production phase to update renders via a custom tool their team built using a custom Premiere Pro panel. The DIGIC Team also used Photoshop storyboard files that updated the timeline seamlessly as the artists completed them.
Read on for more in the following interview with Sereg about how the DIGIC Team shaped character performances in “Secret Level,” available now on Amazon Prime.
How did you first get into animation? What drew you to it?
Animation came into my life naturally when a close friend, an alumnus from my school, invited me to join DIGIC Pictures. At the time, I was working as a freelance editor and hadn’t specifically considered animation. However, DIGIC was not only the leading animation studio in Hungary but also a globally recognized name in the AAA gaming industry. The opportunity to work on cinematic trailers for franchises like “Assassin’s Creed” and “The Witcher” was irresistible.
What drew me in—and still excites me today—is the creative freedom animation offers. Unlike live-action, where you work with pre-shot material, animation gives you complete control over every frame. You can shape performances, fine-tune pacing, and craft moments that wouldn’t be possible otherwise. It’s the perfect intersection of storytelling, technology, and artistry, and I was hooked from day one.
What was the inspiration behind this project? What were you trying to achieve?
The “Secret Level” series was an exciting challenge for us. We worked on four projects— “Sifu,” “Armored Core,” “Honor of Kings” and “Playtime”—each one an opportunity to push our storytelling in new directions. DIGIC has a long history in the gaming industry, but this project allowed us to expand our presence in the streaming space in a new way. While we had previously collaborated with Tim Miller on “Love, Death & Robots” for Netflix, “Secret Level” gave us the opportunity to showcase our signature cinematic style on a different platform, Amazon Prime.
Our goal wasn’t just to reintroduce these games—it was to craft mind-bending, immersive stories that felt like they belonged within these game worlds while offering something unexpected. We wanted to create experiences that stood on their own, captivating both fans of the games and new audiences alike.
How did you begin a project/set up your workflow?
The creative freedom that animation offers also demands precise planning. The film’s rhythm and the approximate length of each shot are already established at the storyboard stage. This is followed by the 3D layout phase, which serves as the foundation for the entire post-production process. From there, we dive into detailed animation work, add effects and simulations, and refine the compositing and color grading.
While changes can be made along the way, they often come at the cost of significant discarded work. As the division lead, I oversaw everything from the early storymatic videos to the final post-production phases, ensuring a seamless workflow from concept to delivery.
Describe your favorite scene or part from the project. How did it come together and how did you achieve it?
One of my favorite scenes from “Honor of Kings” features a mirror that reveals events one minute into the future. This was both a technical and animation challenge—we had to carefully choreograph the movements so that they not only looked great in the reflection, but also reinforced the idea that Yi Xing’s future self was influencing his present actions.
Achieving this required meticulous planning. We worked closely with the animation team to ensure perfect synchronization between the two versions of Yi Xing while maintaining the illusion of predestination. The result is a visually striking and narratively powerful moment that embodies the film’s themes in a unique way.
What were some specific challenges you faced in making this and how did you go about solving them? What Adobe tools did you use on this project?
Finding a single tool that could handle the diverse needs of this project was a challenge. We needed something that would allow the director to access the edits easily, integrate seamlessly with our post-production pipeline, and still provide a fast and efficient editing experience.
Premiere Pro was essential for us. While we utilized Dynamic Link, which eliminates intermediate rendering between Premiere and After Effects, for more complex animations, simpler ones could be handled directly within Premiere. Additionally, Photoshop storyboard files updated seamlessly on the timeline as the artists completed them. This flexibility allowed us to refine the visual storytelling early on while keeping everything up to date in real-time.
Once the storyboard phase was locked, we worked closely with the director to fine-tune the cohesion between visuals and sound. Premiere also played a crucial role in the 3D layout phase, serving as a creative editing tool to establish timing and shot flow. Later, during production, it became a vital tool for quickly updating renders via the Premiere API with the custom panel we created to import and update the various render versions in Premiere, allowing us to refresh assets with a single click.
If you could share one tip about Premiere Pro or After Effects, what would it be?
A quick tip that has saved me countless hours:
If you need to trim the handle frames off hundreds of shots, you can do it in just a few clicks. First, select the edit points using the Rolling Edit tool (N). Then, switch to the Ripple Edit tool (B) and Shift+Click on any of the selected edits. This will apply the ripple trim to all selected cuts at once, making batch adjustments incredibly fast.
Who is your creative inspiration and why?
I’ve always been inspired by Studio Ghibli’s animated films. Their storytelling goes beyond the traditional structure where the villain simply gets what they deserve. Instead, every character learns and evolves—even antagonists are not purely evil but have depth, motivations, and logical reasons behind their actions.
This kind of nuanced storytelling was something we aimed to capture in “Honor of Kings,” especially with Tiangong. His character wasn’t just an obstacle for the hero but someone whose journey and choices made sense within the world of the story. That level of complexity is what makes Ghibli’s films so timeless and what I strive for in my own work.
What’s the toughest thing you’ve had to face in your career and how did you overcome it? What advice do you have for people aspiring to get into animation?
The toughest challenge I’ve faced in my career wasn’t technical—it was learning to express and stand by my creative ideas with confidence. As an introvert, I had to develop the ability to clearly communicate my vision and defend my editorial choices in a way that resonated with directors and teams.
For those aspiring to get into animation, my biggest advice is: don’t doubt yourself. I’ve been on both sides of job interviews, and I’ve seen candidates with less knowledge get hired simply because they were confident and adaptable. Technical skills are important, but what really matters is your ability to learn, collaborate, and grow.
If you believe in your ideas, express them. If you don’t know something, show that you’re eager to learn. What truly makes a difference isn’t just talent, but how you adapt, collaborate, and bring your own perspective to the table.
What’s your favorite thing about your workspace and why?
DIGIC is based in Budapest’s Graphisoft Park, often called the mini Silicon Valley of Hungary. It’s a fantastic place to work, with a modern and inspiring atmosphere. One of my favorite things about our workspace is its location—being near the Danube means you can take a refreshing walk along the river, which is great for clearing your head during intense projects.
Our headquarters consists of two robust, three-story glass buildings, designed to foster creativity and collaboration. But the real highlight? The full cinema on the top floor. Having a proper theater to review our work on the big screen is an incredible advantage—it helps us experience our edits in a truly cinematic way.
To learn more about Premiere Pro’s API visit the API developer portal. Our upcoming UXP update is posted here.