Cinesite Launches Visualisation Service Department

We are thrilled to announce our new visualisation division which will expand our previs, virtual production, techvis and postvis services, and will align with our concept and pipeline departments. 

The team behind Cinesite VIS is led by Head of Visualisation Richard Clarke, who joins us from NVIZ where he was Head of Postvis. He brings his broad experience and creative flair to the newly created role thanks to his extensive history as a VFX Supervisor, CG Supervisor and CFX Supervisor across a diverse range of projects. Passionate about the role of visualisation, Richard says, “What we do allows clients to explore a variety of ideas, to bring the pages of a script to life, to inform every step of the film-making process. Together with Cinesite, we will strengthen and extend that creative partnership throughout the entire process, from script to delivery.”

Richard will report to Jocelin Capper, Cinesite London’s general manager, who says, “With an in-house visualisation (VIS) team, Cinesite will be able to offer end to end solutions for projects. Clients will have the option to place their previs, postvis and VFX under one roof rather than having to wrangle multiple companies over many months. This will provide greater flexibility, consistency and can reduce costs.” 

The newly created division is currently working on feature film projects as part of an integrated offering, but will also operate as a standalone visualisation vendor, with more projects slated over the coming months.

Joining Cinesite VIS alongside Richard, also previously from NVIZ, is Eduardo Schmidek, a Visualisation and Real-Time supervisor with more than 20-years’ experience on high profile shows including “Fantastic Beasts: The Crimes of Grindelwald”, “The Midnight Sky” (Academy-award nominated for VFX) and “Roald Dahl’s Matilda the Musical”. Eduardo has been integral in putting together the workflow and pipeline currently used in Previs and Postvis shows, both in Unreal Engine and Maya, enabling filmmakers to quickly build their edits with shots that are considerably closer to the final image.