Visual Effects

Visual effects are often imagined as explosions and creatures, but much of my work lives on the invisible side, with environments that extend a filmed set, vegetation that moves in the wind, a street that never existed or a crowd that fills a venue. I find that side of VFX especially rewarding, because success means nobody questions what they see. I have contributed to feature films, streaming series, commercials, key art and immersive live shows, as a modeler, an Asset Artist, an Environment Artist, a CG Generalist and, more recently, an Environment Supervisor. Each format has its own constraints. A series needs consistency over many episodes, a commercial needs speed, key art needs a single perfect frame, and an immersive show needs images that hold up on a screen far larger than any cinema. What connects them is the need to understand the whole pipeline, from pre-production and previs to the final render, and to know how my part affects everyone else's. I have shared that view in a masterclass on the role of 3D artists in modern filmmaking, and I pass it on to the students I mentor. For me, good visual effects serve the story first and the technique second

Visual Effects: 3 professional productions at 3 studios, with “Moon Knight - Season 1”, “No Doubt - Sphere Las Vegas (Live Show Visuals)” and “The Boys - Season 5”