From 2003 to 2013: Previs & Postvis for TV and Films.
As a previsualization (previs) artist, I was the architect of cinematic sequences before they even hit the production floor. I meticulously choreographed camera movements, blocked out action, and visualized complex scenes. Whether it was a high-octane car chase or an otherworldly battle, My previs work laid the groundwork for the entire production team.
The fun didn’t stop there. As a postvisualization (postvis) artist, I stepped into the aftermath of filming. Armed with raw footage, I plotted the integration of visual effects elements—be it explosions, creatures, or fantastical environments—into the live-action shots. My keen eye for detail ensured that the final product aligned with the director’s vision, acting as a bridge between the practical and the digital.
From 2013 to the Present: FX for TV.
In 2013, looking for new challenges, I embarked on a new chapter, transitioning to visual effects (FX). For television, the pace was relentless, deadlines tighter, and budgets leaner. Using maya then houdini, my toolkit expanded to include particle, fluid, flip, rigid bodies simulations among others. Week after week, I conjured up tornadoes, alien invasions, and supernatural phenomena—all within the confines of episodic television.
As an FX professional, I’ve encountered both triumphs and hurdles, each shaping my understanding of the medium. Mentoring artists and keeping pace with cutting-edge technology. Despite the hurdles, the thrill of seeing my work on the big screen and captivating audiences is unparalleled.
And so, my journey continues. From previs to FX, from film to TV, I’ve witnessed the evolution of visual effects. Each pixel I’ve nudged, each particle system I’ve tweaked—it’s all part of a grand tapestry that immerses audiences in alternate realities.
~drp