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.

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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, figuring out how an art department could design, build, and deliver film-quality sets inside Unreal Engine, and standing up the weekly virtual location-scout process that let the filmmakers explore those sets long before we hit the stage. I worked directly with Jon Favreau (EP), Andrew Jones (PD), and Greig Fraser (DP) to design and techvis the sets, 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 VP is used on films and TV, and I'm grateful to have helped shape that pipeline early on.

Project Details:

12 hero sets • 45+ set variants • 10-artist VAD • 40+ virtual location scouts • 160+ virtual stage walks • 70+ prelight & camera-blocking sessions • 65+ set-dressing assets scanned • 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