With the versatility and speed videogame engines currently have, the VFX workflow is affected. This presentation will explain the process of how the order of priorities between pre and postproduction is reversed from the fundamental and conceptual basis of the VFX at its origin, to its current implementation.
We will explain how in this way we can establish similarities and differences in terms of structure, costs, times and production design, giving rise to clear understanding, from being an easy and immediate use technological innovation, without great efforts needed, to just a new methodology that provides solutions.
I started my career in post-production in 1990 as a receptionist at the Laboratorio de Cinecolor, in Buenos Aires, Argentina. From my beginnings as Videocolor machine room manager, my curiosity led me to a few experiences with Optical Truca, in film negative, and then I had the opportunity to become an operator of Edit Box y Henry (Quantel).
In 1997 I started as Junior Flame Artist in Dynamo Post, a specialized studio in VFX pioneer in Buenos Aires, in the design of VFX. Later I moved to Spain to work for 3 years in the film department in Telson as Flame Artist and from there I went to the world of advertising.
Since 2012 and up to the present, I am VFX Supervisor of Wework Factory, although in parallel, I collaborate with Shortcut Norge (Oslo, Norway). In addition, for 2 years I have been part of The Future Group, collaborating in the first television program of immersive mixed reality.
