I’m Ines — a visualization artist with a graphic designer’s heart, based in Los Angeles and originally from Austria. After studies in communication design in Graz and multi-media arts in Salzburg, I made my way through branding, animation, and stereo 3D tracking into film visualization, where I’ve spent over a decade on feature blockbusters — around five years as Lead and Supervisor since 2019 — most recently helping launch post-visualization at Sony Pictures Entertainment’s Torchlight, with input on pipeline tooling and authoring the Unreal/Maya/PFTrack and After Effects onboarding workflows — all still in use today.

Previously, I led the post-visualization team on Marvel’s Shang-Chi and the Legend of the Ten Rings for a year, then stepped up as supervisor for the final 4.5 months. I worked on the Disney Studios lot in the Marvel offices as a lead on Captain Marvel with a brief interim supervisor stint, sat in dailies every day on Dune: Part One at Legendary Entertainment with the director, VFX supervisor, and VFX producer, present for the day’s vendor submissions including our post-vis work from The Third Floor Inc., and supervised Disney’s Disenchanted. I was also lead on Spy Kids: Armageddon, The Meg 2: The Trench, and other features. Across these I led teams of up to 10 visualization artists as supervisor, and as lead was part of teams of up to 20; we always delivered on time, and every show was well-received. Along the way, I co-developed post-vis training tutorials at The Third Floor Inc., the industry’s leading visualization studio

My path here has been a scenic one. I started my career in advertising and new-media agencies in Austria doing brand guidelines for my home state of Styria, and short animations for Sony NetServices. I then joined the founding team of Red Bull Creative — Red Bull’s in-house agency, for the sports branding team for Formula 1, NASCAR, ice hockey, and soccer. After which came lead character animation on the award-winning education game 2weistein, stereoscopic 3D tracking on Harry Potter and the Deathly Hallows, and commercial tracking and layout at Logan.tv.

Character work runs through it all, back to my Master’s thesis, The Walkable Picture, which transformed my original characters from sketch into both a stereoscopic short film watched with a VR headset and an immersive augmented reality walk-through of a painting, developed with the pioneering Studierstube AR research platform at Graz University of Technology. I’ve also exhibited fine art photography in Austria.

I’ve been stationed on the studio lots of Walt Disney, Marvel, Legendary, Sony Pictures Imageworks, Lionsgate, and Warner Bros. Along the way had the privilege of collaborating with a number of directors and VFX supervisors I deeply admire. I’m happiest mentoring visual artists, testing out new tools, or finding the right visual solutions to tough creative problems.

Cutting-edge technology has run through my whole career — 3D animation in its early years, virtual reality and augmented reality for my Master’s thesis a decade before headsets went mainstream, and real-time pipelines, first in games with Unity at Brainmonster Studios, later in film at The Third Floor Inc. and now at Sony Pictures Entertainment’s Torchlight. What excites me currently is experimenting with hybrid GenAI and traditional workflows to shape the future of visual storytelling. I work with Maya, Unreal Engine, and Adobe Creative Cloud to bring AI tools into concept development and custom tooling on my own time. I’m an Unreal Fellowship alum (In-Camera VFX, 2022) and a Visual Effects Society member since 2021.

Show Career Timeline