About

The art direction came first. The technical depth was earned on top of it.

That order matters. It is far more common to meet engineers who have picked up an eye than art directors who have learned to read a system — and the second one is what this work actually needs.

I'm a technical artist working on style systems for AI video generation. My job is to decide what a look is, then make it survive being used by thousands of people on footage I will never see, inside a pipeline I only partly control.

In practice that splits about evenly between two things that don't usually sit in the same role. One is art direction: what the light does, where the contrast sits, how it should move. The other is diagnosis: when the output is wrong, working out which of a dozen plausible stages is actually responsible — because a trained eye is very fast at spotting that something is off and no help at all in locating why.

I started in advertising, working with agencies and brands on campaign and brand work. Then I ran my own studio for four years, moved steadily toward the technical side, and spent eighteen months inside Meta Superintelligence Labs learning what generative pipelines actually do rather than what the marketing says they do. I'm now at OpusClip.

I live in Phoenix, Arizona. Limited consulting availability.

How I got here

  1. 2014 — 201901

    Design, copy, advertising

    London · Budapest · Rotterdam

    Graphic design, then copywriting, then social and brand strategy. The years where taste gets built — and where you learn that an idea nobody understands is not a good idea.

  2. 2019 — 202302

    Founder & Head of Creative

    STUDIO NABI

    Ran my own studio. Pitching, scoping, directing and delivering — which is where you find out what it costs to be responsible for the whole thing rather than one part of it.

  3. 2022 — 202403

    Art Director & Technical Artist

    Publicis Groupe · DDG Creative · Nomadic

    The pivot. Still art directing, but increasingly on the technical side — web, 3D, and the first generative work. The point where "how does this actually get made" became more interesting than the making.

  4. 2024 — 202504

    GenAI Technical Artist & Content Engineer

    Meta Superintelligence Labs (via TEKsystems)

    Creative content inside AI-powered experiences, at research scale. Where I learned to read a pipeline instead of guessing at it.

  5. 2026 — now05

    AI Technical Artist

    OpusClip

    Designing and optimising the styles users choose from: turning design taste into scalable systems, and diagnosing the pipeline behaviour that decides whether they hold.

Earlier, in advertising

Campaign and brand work, mostly through agencies. It is not what I do now, but it is where the eye came from — and it is the half of this résumé that people building AI video tools usually don't have.

  • Disney
  • National Geographic
  • Discord
  • Capcom
  • Nivea
  • Pampers
  • Starbucks
  • Amazon
  • Oral-B
  • Beats
  • Asahi

Education

  • BA, Digital Media Design

    University of the Arts London

  • MA, Cultural Economics and Entrepreneurship

    Erasmus University Rotterdam

  • MA, Arts and Heritage: Management, Policy and Education

    Maastricht University

Recognition

  • Young Cannes Lions — Preselection Winner, Media, 2019
  • Young Cannes Lions — Shortlist, Media, 2022

Languages

  • English — native/bilingual
  • Hungarian — native/bilingual
  • Italian — professional

Contact

nataliabajczi@gmail.com

Best for: style quality problems, pipeline diagnosis, and work where somebody needs to hold both the aesthetic and the system in their head at once.

Or use the form — three fields, no phone number.