<Projects
Wednesday, Season 2 (2025)
Director: Tim Burton
Company: MPC Visualization
Role: Previs Supervisor
Time on project: January 2025-May 2025
VFX Supervisor: Craig Calvert
"Josh was a pleasure to work with and a huge help during chaotic times. He led his team with calm ease and delivered fast turnaround notes, always bringing a creative problem solving eye to our sequences. I look forward to working with him again in the future! "- Craig Calvert, Wednesday VFX supervisor
Wednesday Season 2 was my last show at MPC Visualization, which went through a tragic and immediate end when MPC Film's owner Technicolor suddenly filed for bankruptcy and immediately closed its studios at the end of February 2025. We weren't even done with the show when our studio closed, but I was thankfully able to return to the project months later for Rodeo FX, which picked up a lot of the visual effects work.
While I can't get into business details, I will say that the previs team I oversaw: Todd Thornley on assets, with previs artists Abel Salazar and Mark Austin (Pat Smith also did some shots) all did great work, while I also did previs and also edited our chase sequence for the season finale of Part II. I was working tightly with Craig Calvert's team in Toronto, which also closed when we did. When he and I joined Rodeo months later, new notes came in which required I end up redoing most of the work solo at home instead of a virtual machine. I was even assigned some postvis-type work, which was surprisingly fun to do outside of a studio pipeline.
One of the fun things to mention is that the Nevermore Academy set was filmed at the gorgeous Cantacuzino Castle in Romania, which was fun to research. We took rigs provided by the Toronto office and did our best with quickly iterating on shots with much more final assets than we normally work with, which resulted in nice-looking Viewport 2.0 playblasts in Maya. Having a very experienced crew who'd worked together before also helped keep things moving quickly, but our toughest challenge was having all the sections flow together seamlessly by maintaining different lighting, FX and animation poses across each person's section. It all looked tight by the end however, and I suppose if I had to pick any project to be my last at MPC, it was a relatively enjoyable experience, all things considered. As of this writing I have not seen the final cut but I look forward to its release in September.
Shot count: 34 for 1 sequence
Wednesday, Season 2 (2025)
Director: Tim Burton
Company: MPC Visualization
Role: Previs Supervisor
Time on project: January 2025-May 2025
VFX Supervisor: Craig Calvert
"Josh was a pleasure to work with and a huge help during chaotic times. He led his team with calm ease and delivered fast turnaround notes, always bringing a creative problem solving eye to our sequences. I look forward to working with him again in the future! "- Craig Calvert, Wednesday VFX supervisor
Wednesday Season 2 was my last show at MPC Visualization, which went through a tragic and immediate end when MPC Film's owner Technicolor suddenly filed for bankruptcy and immediately closed its studios at the end of February 2025. We weren't even done with the show when our studio closed, but I was thankfully able to return to the project months later for Rodeo FX, which picked up a lot of the visual effects work.
While I can't get into business details, I will say that the previs team I oversaw: Todd Thornley on assets, with previs artists Abel Salazar and Mark Austin (Pat Smith also did some shots) all did great work, while I also did previs and also edited our chase sequence for the season finale of Part II. I was working tightly with Craig Calvert's team in Toronto, which also closed when we did. When he and I joined Rodeo months later, new notes came in which required I end up redoing most of the work solo at home instead of a virtual machine. I was even assigned some postvis-type work, which was surprisingly fun to do outside of a studio pipeline.
One of the fun things to mention is that the Nevermore Academy set was filmed at the gorgeous Cantacuzino Castle in Romania, which was fun to research. We took rigs provided by the Toronto office and did our best with quickly iterating on shots with much more final assets than we normally work with, which resulted in nice-looking Viewport 2.0 playblasts in Maya. Having a very experienced crew who'd worked together before also helped keep things moving quickly, but our toughest challenge was having all the sections flow together seamlessly by maintaining different lighting, FX and animation poses across each person's section. It all looked tight by the end however, and I suppose if I had to pick any project to be my last at MPC, it was a relatively enjoyable experience, all things considered. As of this writing I have not seen the final cut but I look forward to its release in September.
Shot count: 34 for 1 sequence
