<Projects
Snow White (2025)
Director: Mark Webb
Company: MPC Visualization
Role: Previs Artist, Postvis 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 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. It couldn't feel too ungrounded, but it was hard to know how cartoony the look would end up being. We worked on 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 myself back then, and helped train the junior artists and animators to get them familiar with our tools and methods.
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 Unity environment that the virtual art department team built, which was held at the Rouge motion capture studio in Playa Vista, CA. 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.
Met Guillaume
An early challenge was proving our company's capabilities to the director, who
PART II: TECHVIS
Just a few water reflection shots needed to be figured out in techvis for the wishing well sequence.
PART III: POSTVIS
I worked on a couple shots for the sequence where the Queen ages into stone and disintigrates
worked on
Main challenges
Keys to success
Best moment
Shot count: ##
Sequences:
The VFX Supervisor oversaw all the shots that MPC would handle in finals, and since Technicolor owns MPC, it felt like a real "all hands on deck" team-effort, with some shots requiring collaboration from our art department down the hall, to the London office where the final character models were being created.
Sequences on which I worked:
Mineshaft chase (previs)
Wishing well (techvis)
Queen disintegrates into mirror (postvis)
Snow White (2025)
Director: Mark Webb
Company: MPC Visualization
Role: Previs Artist, Postvis 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 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. It couldn't feel too ungrounded, but it was hard to know how cartoony the look would end up being. We worked on 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 myself back then, and helped train the junior artists and animators to get them familiar with our tools and methods.
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 Unity environment that the virtual art department team built, which was held at the Rouge motion capture studio in Playa Vista, CA. 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.
Met Guillaume
An early challenge was proving our company's capabilities to the director, who
PART II: TECHVIS
Just a few water reflection shots needed to be figured out in techvis for the wishing well sequence.
PART III: POSTVIS
I worked on a couple shots for the sequence where the Queen ages into stone and disintigrates
worked on
Main challenges
Keys to success
Best moment
Shot count: ##
Sequences:
The VFX Supervisor oversaw all the shots that MPC would handle in finals, and since Technicolor owns MPC, it felt like a real "all hands on deck" team-effort, with some shots requiring collaboration from our art department down the hall, to the London office where the final character models were being created.
Sequences on which I worked:
Mineshaft chase (previs)
Wishing well (techvis)
Queen disintegrates into mirror (postvis)
