Mickael Bec Velazquez

Visual effects production for studio features, streaming originals, and formats that don't have a name yet. Bids and budgets, schedules, vendor contracts, and shot pipelines — the machinery that gets shots delivered, on time and on the number.

Fifteen years in film production, seven of them studio-side on tentpoles for Sony, Netflix, Legendary and Lionsgate. Shows of 1,200 to 2,000 shots across as many as eleven vendors. Twice the job has been to take over a show already in motion and rebuild its pipeline underneath it without missing a delivery.

Stereo runs deep here: 2,000 shots converted on Godzilla x Kong, the studio's stereo infrastructure rebuilt around them, and the work carried through to the stereo DI. Lately the same toolkit has gone into hand-drawn animation, AR and real-time pipelines — formats where the pipeline has to be invented, budgeted and scheduled before a single shot exists.

Before the studios came years of line producing and fixing in Europe — crews, locations, payroll, filming incentives and tax rebates. It is why the budgets read like a line producer's, and why the VFX plan stays tied to what actually happened on the shoot.