<Projects
Snow White (2025)
Director: Mark Webb
Company: MPC Visualization
Role: Previs Artist, Techvis Supervisor, Senior Postvis Artist
Time on project: September 2019-October 2020, June 2022, August 2024
VFX Supervisor: Max Wood
Snow White was a three-part experience for me, with long gaps between the experimental previs sequence our MPC Visualization team helped design and the techvis and postvis we did afterwards.
PART I: PREVIS
With Snow White being not just a Disney project, but a reimagining of their very first blockbuster animated film that got the studio off the ground, the quality bar and expectations were very high. We started with an action sequence of the minecarts going through the mine the dwarves worked in, which was fun to visualize. I was relatively new to the department back then, and helped train the junior artists and animators to get them familiar with our tools and workflows.
Once we had the sequence done, we moved onto another sequence in the mines with the dwarves singing and working together, which became a tech demo that combined motion capture performances taken live with shorter actors with the game engine environment that the virtual art department team built, which was held at the Rouge motion capture studio in Playa Vista. An early challenge was proving our company's technical and creative capabilities to the director and studio, and over time I would see many different high-level personnel contribute to different aspects of the production. Some shots required collaboration from our art department down the hall, who was also designing character styles, to the London office where the final character models were being created. By the time we finished previs at the end of 2019, the show surpassed all my other previous visualization projects in terms of my personal involvement.
PART II: TECHVIS
Long after I'd switched to different shows, a sequence returned to MPC for techvis, which I worked on with another senior artist. It was an especially challenging puzzle since it involved filming accurate reflections in separate camera passes.
PART III: POSTVIS
Once again, long after I'd been working on other shows, I returned to revise a couple postvis shots for the climactic sequence. It was interesting to finally see plates for it.
Sequences on which I worked:
Mineshaft chase (previs)
Mine song (previs)
Wishing well (techvis)
Queen disintegrates (postvis)
Snow White (2025)
Director: Mark Webb
Company: MPC Visualization
Role: Previs Artist, Techvis Supervisor, Senior Postvis Artist
Time on project: September 2019-October 2020, June 2022, August 2024
VFX Supervisor: Max Wood
Snow White was a three-part experience for me, with long gaps between the experimental previs sequence our MPC Visualization team helped design and the techvis and postvis we did afterwards.
PART I: PREVIS
With Snow White being not just a Disney project, but a reimagining of their very first blockbuster animated film that got the studio off the ground, the quality bar and expectations were very high. We started with an action sequence of the minecarts going through the mine the dwarves worked in, which was fun to visualize. I was relatively new to the department back then, and helped train the junior artists and animators to get them familiar with our tools and workflows.
Once we had the sequence done, we moved onto another sequence in the mines with the dwarves singing and working together, which became a tech demo that combined motion capture performances taken live with shorter actors with the game engine environment that the virtual art department team built, which was held at the Rouge motion capture studio in Playa Vista. An early challenge was proving our company's technical and creative capabilities to the director and studio, and over time I would see many different high-level personnel contribute to different aspects of the production. Some shots required collaboration from our art department down the hall, who was also designing character styles, to the London office where the final character models were being created. By the time we finished previs at the end of 2019, the show surpassed all my other previous visualization projects in terms of my personal involvement.
PART II: TECHVIS
Long after I'd switched to different shows, a sequence returned to MPC for techvis, which I worked on with another senior artist. It was an especially challenging puzzle since it involved filming accurate reflections in separate camera passes.
PART III: POSTVIS
Once again, long after I'd been working on other shows, I returned to revise a couple postvis shots for the climactic sequence. It was interesting to finally see plates for it.
Sequences on which I worked:
Mineshaft chase (previs)
Mine song (previs)
Wishing well (techvis)
Queen disintegrates (postvis)
Couldn't resist an office selfie on my first Disney film.
Early days on "Red Apple" previs.
Row 1: Gil Hacco, Shawn Lopez, Hiro Kamegaya, Caitlin Kennedy
Row 2: Sang Lee, Mark Austin, myself, Nat Seymour
Mid-project, previs. Row 1: Richard Little, Katie Hooten, Damien Acker, Arielle Weir, Roger Van Helden
Row 2: Andrew Rose, Federico Janni, Kristen Aasen, Patrick Smith, Teri Bolke, Nat Seymour, ?, Ryan Magid, Alejandro Castro, ?
Row 3: Caitlin Kennedy, Jeremy Freeberg, Sang Lee, Christopher Beatty, Mark Austin, Jasmin Barajas, Joel Espinoza, Salomé Iravani, Hannah Addington, ?, ? Adam Davis, Justin Louis
Row 4: Enos Vazquez, Hero Chev
MPC Los Angeles credits
