
<Projects
Back in Action (2025)
Director: Seth Gordon
Company: MPC Visualization
Role: Previs/Postvis Supervisor
Time on project: August 2022-July 2023
VFX Supervisor: Erik Nash
Back in Action is a Netflix action film featuring actress Cameron Diaz's return to movies after an 11-year hiatus. It was also my second time working with VFX Supervisor Erik Nash (the last film being Night at the Museum 3). The visualization team comprised of 17 artists, 2 editors, and 3 coordinators. We had a London-based previs artist who was part of our team, but the bulk of the work was out of MPC's Los Angeles office.
The main challenges were designing and animating long action sequences, one of which spanned many blocks in London along the Thames. A motion capture shoot was done before I started as previs supervisor, and our first task was to polish and apply the data to our 3d character models. Later on we'd add them to the boats and bikes, and insert those scenes within a ripped 3d model of London taken from Google Earth. There were so many previs shots we needed the help of a full-time editor to cut in and keep track of each day's shot renders.
We took a break for the filming to take place, then returned for postvis work, compositing our 3d assets we'd blocked the action with during previs into plates shot by the film crew. We added realistic elements like reflections and adjusted lighting to help the elements match the look of the footage. Once postvis was approved, we passed the 3d files to the Canadian MPC VFX team, who completed final shots from there.
Shot count: 171 previs, 53 postvis
Sequences on which I worked: 4 (jet, bike, boat, and one that was cut)
Back in Action (2025)
Director: Seth Gordon
Company: MPC Visualization
Role: Previs/Postvis Supervisor
Time on project: August 2022-July 2023
VFX Supervisor: Erik Nash
Back in Action is a Netflix action film featuring actress Cameron Diaz's return to movies after an 11-year hiatus. It was also my second time working with VFX Supervisor Erik Nash (the last film being Night at the Museum 3). The visualization team comprised of 17 artists, 2 editors, and 3 coordinators. We had a London-based previs artist who was part of our team, but the bulk of the work was out of MPC's Los Angeles office.
The main challenges were designing and animating long action sequences, one of which spanned many blocks in London along the Thames. A motion capture shoot was done before I started as previs supervisor, and our first task was to polish and apply the data to our 3d character models. Later on we'd add them to the boats and bikes, and insert those scenes within a ripped 3d model of London taken from Google Earth. There were so many previs shots we needed the help of a full-time editor to cut in and keep track of each day's shot renders.
We took a break for the filming to take place, then returned for postvis work, compositing our 3d assets we'd blocked the action with during previs into plates shot by the film crew. We added realistic elements like reflections and adjusted lighting to help the elements match the look of the footage. Once postvis was approved, we passed the 3d files to the Canadian MPC VFX team, who completed final shots from there.
Shot count: 171 previs, 53 postvis
Sequences on which I worked: 4 (jet, bike, boat, and one that was cut)