What does it take to rebuild everything—from the ground up—and come out stronger on the global stage?
In just 3 years, T-VFX has gone from an ambitious idea launched in the middle of global uncertainty to a rising force in the world of visual effects. With offices in the U.S., Armenia, Malta, and the UAE, a growing list of Super Bowl commercials, Hollywood collaborations, and international awards, the studio has become a symbol of creative resilience and smart global strategy.
At the heart of it all is Alexander Savitskiy, CEO & Co-founder of T-VFX. In this conversation, he shares the full journey—from early industry beginnings and abrupt reinvention, to building a distributed team, launching an educational platform, and chasing the ultimate creative dream: an Oscar-worthy film.
Whether you're a founder navigating global expansion or a creative professional looking for inspiration, this interview is packed with hard-earned insights, honest reflections, and a powerful reminder that consistency, values, and the right people can take you further than you think.
Anna: Alex, thank you so much for taking the time to speak with us today. I know you have an incredibly packed schedule, so I really appreciate this opportunity. Let's start at the very beginning. T-VFX represents a remarkable evolution—essentially continuing a story that began in the Russian market back in the 1990s. Can you take us back to those early days? How did you first enter the industry, and what were those initial steps that led to where T-VFX stands today?
Alex: My story began in 2002 when I joined a VFX company that had been founded in 1996 by Dmitry Venikov. From that point, Dmitry and I started building the company in its new form. It became "Trehmer," which was really successful thanks to our approach and the talents we had—I took on the business side while Dmitry focused on creative tasks and directing. Over time, we developed production and film divisions, and by 2022, we had evolved into 3 independent companies. It was a long journey, but a very organic one.
Anna: And was the global market part of your initial focus, or did international expansion happen organically over time?
Alex: Honestly, international work wasn't even on our radar initially—it felt like this impossibly complex world. We were focused on proving ourselves with major Russian projects. Our breakthrough moment came when we worked with Bazelevs and Timur Bekmambetov on "Wanted" with Angelina Jolie. That was our first taste of Hollywood-scale production, and honestly, it was a wake-up call. We realized the Russian VFX market wasn't quite operating at Western standards yet. But instead of discouraging us, that project became a catalyst—it showed us what was possible and gave us the confidence that we could bridge that gap.
The real turning point came just before the pandemic when we landed a small graphics segment for the "Predator" franchise. It wasn't huge, but it was our first genuine step into Western territory. Then something incredible happened—we managed to get Amazon's Vice President of Visual Effects to visit our studio. When he gave us such positive feedback, it was like a light bulb moment. That validation changed everything. I started making regular trips to Los Angeles, building relationships with producers, really showcasing what we could bring to the table. It went from being this distant dream to becoming a very real, very exciting possibility.
Anna: And then in 2022, you took such a big step—relocating, ending the long Trehmer story, and launching T-VFX completely from scratch?
Alex: Yes, 2022 was a true turning point. After nearly 2 decades of building within one ecosystem, we made the bold decision to reinvent ourselves—and that's how T-VFX was born. This time, we set out to create a new, fully international company, rooted in the Western market from the start.
We launched a company in Armenia and started building everything from the ground up—quite literally. There was no infrastructure in place; we even had to set up basic utilities like internet access just to support remote workflows. It was an intense, hands-on chapter. We gave our entire team the opportunity to transition into this new venture. At the same time, I opened an office in Los Angeles to be closer to our clients and industry partners, while my co-founders, including Dmitry, focused on expanding our presence across Europe and Armenia.
Looking back, I’m still amazed by how quickly our team adapted. Their speed, resilience, and commitment made this transition possible. It wasn’t just a new chapter—it was a complete rebirth.
Anna: Wow, that truly sounds like a feat of strength and determination. How did you handle the challenges of the Western market? With its own rules, industry strikes happening in 2023-2024, and intense competition—it can’t have been easy.
Alex: This market is definitely challenging—but from the very beginning, I treated it as a fresh start. A blank slate. I told myself: You’ve got 5 years to build something real. That mindset gave me the patience and focus I needed.
What matters most is not losing faith. In this industry, persistence is everything. If you’re consistent, deliver quality, and keep showing up—trust begins to grow. One project at a time, we started building that trust. Whether it was a Super Bowl commercial or VFX for Hollywood productions, each step added to our reputation.
It’s a bit like rolling a snowball. In the beginning, you’re carefully packing snow with your hands. It feels slow, deliberate. But eventually, momentum builds—and the snowball starts rolling on its own. I couldn’t have done any of it without the support of my family and my team. They’ve been my anchor through every phase. And I’ve learned the importance of recharging—whether it’s through sports, long walks, or spending time with the creative community. Los Angeles, in that sense, has been a gift. I’ve found an incredible network of people in film and advertising who think the way we do. Being around that energy—it fuels you. It reminds you why you started.
Anna: 5 years is a solid timeframe. And yet—it’s only been 3, and many would already envy what T-VFX has achieved. Despite strikes and global disruptions, you're not only working on U.S. and Hollywood projects, receiving a lot of awards but you've also expanded to an international scale.
Alex: That’s right. Today, we have offices in the U.S., Armenia, Malta, and the UAE, along with satellite representations in cities like Riga. Our headquarters is in the U.S., where we handle the majority of contracts—but we stay flexible and adapt based on each client’s needs and regional preferences.
When we expand into new markets, we usually do so through partnerships with trusted collaborators. This approach allows us to share both resources and responsibility. For example, in Malta, we’re part of the Cineloop conglomerate. In Abu Dhabi, we work with a partner who has deep-rooted relationships across the Middle East. That kind of strategic cooperation keeps us agile and responsive to local market demands.
Looking ahead, I expect that any future offices—in regions like Germany, the UK, or elsewhere—will follow the same principle. By that, I mean fully functional, physical offices with real teams on the ground—not just a registered address or shell structure.
For us, it’s about building true operational bases: full infrastructure, skilled local teams, dedicated workstations, and of course, all the necessary licenses and regulatory compliance. We’re not interested in paper entities—we invest in creating real, long-term value wherever we go. That’s what allows us to deliver consistent quality, maintain transparency, and build lasting trust with clients around the world.
Anna: And how does doing business internationally compare to your experience in Russia? What’s been the biggest surprise for you?
Alexander: In Russia, doing business often felt like working in a rush — rules changed constantly, and you had to adapt on the fly just to keep going. In the West, especially in the U.S., the environment is much more stable and conservative. There’s a system built on trust. No one automatically assumes you’re doing something wrong—and that mindset shift is incredibly refreshing.
Yes, taxes in the U.S. are high, but they’re also fair. And if you approach things smartly, there are plenty of legal ways to optimize. What I genuinely appreciate is that I can see where my taxes go: free public education for kids, solid infrastructure, social programs. That visibility creates a sense of accountability and participation.
The biggest surprise is how litigious the culture is. In the U.S., people really do sue over everything. You need insurance for everything—liability, your business, even the smallest things. But overall, the U.S. is incredibly fertile ground for entrepreneurship. If you’re offering something original, there’s always room to grow.
Anna: Is there anything that helped you adapt to that shift in mindset?
Alex: When I first arrived, I realized I couldn’t approach the U.S. market wearing the same “mental uniform” I’d worn for years. I needed to understand how people think here—what they value, how they make decisions, how trust is built. That’s why I enrolled in an executive program at Harvard Business School. It wasn’t a traditional MBA, but it gave me something I was really craving: structure, perspective, and a deeper understanding of how the Western business world operates.
In Eastern Europe, we’re often trained to spot problems and improvise solutions under pressure. In the U.S., there’s more emphasis on systems, long-term planning, and protecting yourself legally. That shift—from reactive to proactive—was something I had to consciously retrain in myself.
I didn’t join Harvard for networking, since my program was online, but the academic foundation it gave me was invaluable. It helped me think not just like a founder—but like a global operator.
Anna: Cool! And when we talk about your collaboration with Konstantin and Pixel Tax Consulting, what exactly does that support look like? And more broadly, how would you rate PTC’s help in your expansion into the U.S.?
Alexander: PTC—and Kostya in particular—played a crucial role in our U.S. expansion. At a time when everything was new and uncertain, he helped us lay the foundation. From setting up the legal entity and handling the accounting structure to navigating taxes and the U.S. banking system—he guided us through every step with clarity and calm.
But beyond the technical side, what I really valued was his personal approach. He didn’t just help with the company setup—he helped me as a person. Whether it was advice on how to get a driver’s license or how to open a bank account, Kostya was always just a message away.
When you're building something in a new country, that kind of grounded support is absolutely vital. You need someone who not only understands the system but also knows how to guide you through it without overwhelming you. In that sense, PTC wasn’t just a service provider—it was a real partner. And we still stay in touch to this day.
Anna: Yes, everybody talks about Kostya’s personal approach—and honestly, that’s what I value most about PTC too. If you’re looking for a real partner to support your business journey, book a free consultation with us. We’ll help you figure it out—step by step.
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Anna: T-VFX works on a wide range of projects, from high-end international commercials—like Lexus, Renault, and Diablo—to Super Bowl ads, Hollywood-scale productions like The Beekeeper, and major international films like The Wandering Earth II. And beyond that, you’re also involved in social and charitable initiatives.
With such a diverse portfolio, which projects feel the most meaningful?
Alex: Every project carries its own significance. We’re incredibly proud of our work on films featuring Jason Statham, as well as commercials that have earned international recognition—including LIA, Ciclope, and Telly Awards across Europe and the U.S. One of artistically rewarding collaborations has been with Kirill Serebrennikov. We recently created the visual effects for his latest film about Dr. Mengele, which just premiered at Cannes. We’re also co-producers on his next project “Aprés” — a bold, auteur-driven film that we believe in deeply.
But for us, socially impactful projects are just as important. We actively support emerging filmmakers, contribute to festival-worthy short films, and sometimes even work pro bono if we see real creative promise.
One meaningful project involved amplifying the voices of Iranian women through a powerful storytelling initiative. Projects like that aren’t just side efforts—they’re woven into our identity. We want to show up where it counts and use our craft to make a difference.
Anna: Beyond running the studio and working on international projects across film, advertising, and more, you also launched Effectum School—an educational initiative focused on training visual effects professionals. Will you tell us how that idea came about, and what kind of impact it’s already had?
Alex: The idea for the school, first, came out of necessity. In Armenia, we didn’t have enough qualified specialists to support the growth of our studio. So, we decided to build an internal training system—something that could prepare new talent specifically for our needs. That’s how Effectum School was born. It’s an online platform offering structured programs in compositing, 3D effects with Houdini, and even VFX production management.
Our goal was to create a real entry point into the industry—even for those with no prior experience. And the results have been amazing. We’ve seen people completely change careers: a former criminal investigator became a compositing artist; a paramedic transitioned into 3D effects. It’s incredibly rewarding.
The school not only helps us identify and train new talent, but it’s also become a gateway for other studios to find skilled professionals. It’s a socially meaningful project—one that makes the industry more accessible and inclusive. Right now, the content is in Russian, but we’re already working on translating our programs into English so we can expand into U.S. and European markets.
Anna: T-VFX is clearly thriving, with impressive growth and global reach. As you continue to build on this momentum—what’s next? What does the long-term vision look like for you and the studio?
Alex: You know, planning too far ahead has never been my strong suit. I wouldn’t call myself overly ambitious. Everything that’s happened so far—honestly, it feels more like a natural flow than some grand strategic breakthrough. We move forward because the world keeps turning, and we’re just rotating along with it.
That said, I do have one real dream: to build a studio that’s not only recognized for its technical excellence, but also capable of creating a project powerful enough to earn major international acclaim—something truly cinematic.Over the years, we’ve had the privilege of working on incredible projects—many still under NDA. We’ve been honored with multiple industry awards, including the prestigious Cannes Lions—last year, we brought home 4 of them. 2024 was truly a milestone year, filled with recognition across: from the Telly Awards to the Shark Awards, Ciclope, LIA, and Eurobest. And 2025 is continuing that tradition—most recently, we received 7 Telly Awards for our work on Lexus and Nilu, which I believe turned out beautifully, along with 2 Clio Awards for our campaign with Renault.
But what I’d love to see next is recognition in the world of film. A major film award—an Oscar. And I truly believe that with another five to ten years of focused, passionate work, that dream is within reach.
I think the real goal is to create something where people—our team, our clients—genuinely feel good. I love what I do, and the moments that stay with me aren’t about the awards or even the money. It’s when someone—whether a client or a colleague—sincerely says “thank you.” That kind of unexpected recognition touches something deeper. It reminds me that what we’re building isn’t just a company—it’s a space where people feel valued, seen, and proud of what they’re part of. The real satisfaction comes when you look at what you’ve built and know others are benefiting from it—like you’ve constructed a bridge, and now people can cross it. That’s when you realize it was all worth it.
Anna: Sounds so deep. Is there any advice you’d give to creatives and entrepreneurs who dream of taking their work global?
Alex: Whenever someone asks me that, I always say the same thing: don’t give up. Going global is hard—really hard. It’ll feel unfair at times, frustrating, and completely different from what you’re used to. But if you’re consistent, if you stay committed and don’t lose faith in what you’re building, you’ll break through. The Western market, especially, rewards persistence and reliability. That’s what earns trust.
There will be moments when you want to quit—and that’s okay. What matters is learning to pause, reset, and then come back with fresh energy. At some point, you’ll break through the wall.
If someone had told me five years ago that we’d be making Hollywood films, doing Super Bowl commercials, and winning awards across Europe and the U.S.—I probably wouldn’t have believed them. But today, that’s our reality. And it’s not magic—it’s momentum. So keep going. Believe in yourself. Believe in your team. That’s how you build something that lasts.
Anna: Alex, thank you so much for sharing your story—I’m sure many entrepreneurs and creatives will find your insights incredibly valuable. We encourage everyone to visit T-VFX and follow the company to see where this journey goes next.
