Felix Jorge

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A man with curly hair and a nose ring stands against a dark blue wall with graffiti. He is wearing a white dress shirt, a patterned tie, and a black leather jacket with white contrast stitching.
A man with curly shoulder-length hair poses against a solid dark brown background. He is wearing a formal black suit with a white shirt and patterned tie, layered under an oversized black leather jacket featuring white stitching. He has several rings on his fingers and an ornamental belt buckle.
A low-angle shot of a man with curly hair looking off to the side while leaning against a dark maroon wall. He is dressed in a white shirt, a black tie, a black suit jacket, and a black leather jacket with visible white stitching.

Felix Jorge

0%

0%

A man with curly hair and a nose ring stands against a dark blue wall with graffiti. He is wearing a white dress shirt, a patterned tie, and a black leather jacket with white contrast stitching.
A man with curly shoulder-length hair poses against a solid dark brown background. He is wearing a formal black suit with a white shirt and patterned tie, layered under an oversized black leather jacket featuring white stitching. He has several rings on his fingers and an ornamental belt buckle.
A low-angle shot of a man with curly hair looking off to the side while leaning against a dark maroon wall. He is dressed in a white shirt, a black tie, a black suit jacket, and a black leather jacket with visible white stitching.
The Vice Hotel

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The Mandalorian — S1

Series / TV

VAD Art Director

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Overview

I came onto The Mandalorian as the VAD Art Director under production designer Andrew Jones, tasked with building the workflow and team to design sets in Unreal Engine, and standing up the weekly virtual location-scout process that let filmmakers explore those locations before we hit the in-camera VFX stage.

Jon Favreau (EP), Andrew Jones (PD), and Greig Fraser (DP) used the scouts frequently to flesh out scenes and create techvis, in close collaboration with The Third Floor and ILM. As the first major show to embrace the LED volume and in-camera VFX, it trailblazed how virtual production is used across film and TV, and I'm grateful to have helped shape that pipeline early on. Over seven months, our ten-artist Virtual Art Department built and lit 12 hero locations and 45+ virtual sets for direct handoff to ILM, running the show's virtual scouting and techviz.

12 hero sets • 45+ set variants • 10-artist VAD • 40+ virtual location scouts • 70+ prelights • 65+ set-dressing photogrammetry • 300+ cameras placed

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Category

Series / TV

Role

VAD Art Director

Pipeline

Virtual Art Department

In-Camera VFX (UE)

StageCraft LED Volume

Photogrammetry

Format

16:9 Aspect

4K Resolution

Client

Lucasfilm

Date

2018