I’m Ines — a graphic designer at heart, based in Los Angeles and originally from Austria. After studies in graphic 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 as Lead and Supervisor — most recently joining the launch of post-visualization at Sony’s Torchlight — with input on pipeline tooling and authoring the onboarding materials and workflows.

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 months. I worked as a lead on Captain Marvel with a brief interim supervisor stint, was in dailies every day for Dune: Part One at Legendary Entertainment, and supervised Disney’s Disenchanted. Across these I led teams of up to 20 post-vis artists; 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.

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 headset and an immersive virtual reality walk-through of a painting. 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.

I’ve been inside cutting-edge technology throughout my career — in 3D animation in its early years, in virtual reality for my Master’s thesis years before headsets went mainstream, and now in the real-time pipelines at Sony’s Torchlight. I tend to think a bit ahead. 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.