The Power of Previs
Although Pixomondo is known for its large body of work in feature film and television, the company's roots come from its previsualization department. Our history, based out of our Venice offices, began with our unique approach to the previs process on the movie 2012.
Traditionally, storytellers and filmmakers have predominantly relied on storyboards and animatics to develop and communicate their vision to others. The growing technology and developed software gave birth to the more cost-effective method that we know as previs.
Today more than ever before, previs is increasingly utilized by film directors and studios to launch their ever-growing and ambitious projects. Over the years, we have seen the traditional role of previs expand beyond just staging complex shots for principal photography but also as a valuable tool to solve major creative and technical issues. In some cases, previs has been used as a tool to promote and fund a project months and years before a single frame has been shot.
Pixomondo is proud to offer a full-service previs, pitchvis and postvis to its clients. Pixomondo is continuously pushing the boundaries in all fields of visualization and proudly offers these services to all its clients.
How we approach previs?
Previsualization showcases the ideas and visions of storytellers without incurring the cost of an actual production. This phase allows us to not only find out what does work in the context of a project, but also what may not work.
How we approach pitchvis?
Pitchvisualization is the ultimate sales tool. Pixomondo can help you to get that coveted green light by visually presenting your idea to potential studios and investors in a clear and communicative way.
How we approach postvis?
Postvisualization is the best way to save money in post production costs. Used in the editing process, postvis is especially useful in VFX heavy projects and allows CG content to be layered on to principle photography in a fraction of the time. Editorially speaking, postvis is an imperative step to bringing the story to the screen and Pixomondo is there to do it right.
Head of Previs
Matt McClurg has many years experience in the film industry. Before joining PIXOMONDO Previs, Matt was lead artist for The Third Floor and 20th Century Fox. His extensive previsualization credits include Oblivion, Wonder Woman, Independence Day: Resurgence, Iron Man 3, Maleficent, Fantastic Four, Ghost in the Shell, Hitman: Agent 47, Live by Night, Maze Runner: Scorch Trials, Avengers: Age of Ultron, Edge of Tomorrow, Dark Tower, Inversion, and many more. He has worked closely with directors Peter Segal, Scott Waugh, Robert Stromberg, Josh Trank, Aleksander Bach, Shane Black, Joseph Kosinski and Joss Whedon.
Senior Lead Previs Artist/VFX Animator
Before joining PIXOMONDO, Jason Donnelly has had over a decade experience working as a lead previs artist, 3D animator and animation supervisor at studios such as The Third Floor, Shade VFX and Luma Pictures. His credits span work in feature films, commercial and television and including: The Dark Tower, Inversion, Olive Kitteridge, Chef, Oblivion, Jack the Giant Slayer, Daredevil, The Avengers, Journey 2: The Mysterious Island, I Am Number Four, Earth to Echo and Super 8. He has worked closely with directors like Joseph Kosinski and Joss Whedon and has been involved in creating pitches and sizzle trailers for several projects including Paradise Lost, The Invisible Man, Redemption of Cain, and Ninja Scroll.
Postvis Supervisor/Lead Previs Artist/TD
Stephen has sixteen years of experience in the VFX industry, working as a Virtual Production Lead Artist and Stage Operator, Postvis Supervisor, Previs and Postvis Lead, Modeler and Rigger, Animator and Motion Editor. He has worked on some of the highest grossing feature films of the last decade, including: Avatar, The Avengers, Iron Man 3, Rise of the Planet of the Apes, Dawn of the Planet of the Apes, The Twilight Saga: Breaking Dawn I and II and The Maze Runner. While at Pixomondo, he has worked on Ghost in the Shell, The Dark Tower, Independence Day: Resurgence, Wonder Woman, Allegiant, The Purge: Election Year, Ride Along 2, Impossible, Inversion, Live By Night, Zhong Kui: Snow Girl and the Dark Crystal, and Lost in Hong Kong. He has worked closely with a number of well-known directors, including: James Cameron, Shane Black, Alex Proyas, Shawn Levy, and Rupert Wyatt.
Previs / Integration
Michael is Previs, Integration Artist and Motion Capture Performer at PIXOMONDO Los Angeles. He has been in the industry for over a decade and is known for his work on The Curious Case of Benjamin Button, Pirates of the Caribbean, Terminator Salvation and Genisys, The Avengers: Age of Ultron and many more.
During his time at PIXOMONDO, he has worked on a variety of feature and episodic work including Fantastic Four (2015), Allegiant, Sleepy Hollow, Fear the Walking Dead, and previs for many upcoming high-profile projects.
Michael earned a BS in Biology from Francis Marion University and graduated from Savannah College of Art and Design with an MFA in Computer Art. He began his career after graduation as a previs artist at Proof Inc. before joining studios such as ILM, Mirada, Method Studios, Digital Domain, and others.