I’m Ines — a visualization artist and supervisor with a graphic designer’s heart, based in Los Angeles and originally from Austria. I made my way through branding, animation, and stereo 3D tracking into games, then film visualization, where I’ve spent over a decade on feature blockbusters including Shang-Chi, Captain Marvel, Dune: Part One, and Disenchanted, around five years of it as Lead and Supervisor.

I’ve had the privilege of working on the studio lots of Walt Disney, Marvel, Legendary, Sony Pictures Imageworks, Lionsgate, and Warner Bros, and of learning from directors and VFX supervisors I deeply admire. On Dune: Part One I sat in dailies every day at Legendary Entertainment alongside the director, VFX supervisor, and VFX producer, present as the day’s vendor submissions came in. As a supervisor I’ve led visualization teams of up to 10 and co-developed post-vis training at The Third Floor Inc., the industry’s leading visualization studio. Most recently I helped launch real-time post-visualization at Sony Pictures Entertainment’s Torchlight, authoring the onboarding workflows across Unreal Engine, Maya, PFTrack, and After Effects.

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, on 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 in Multi Media Arts and its 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.

That pull between craft and new technology has been there from the start. The same curiosity that took me from graphic design into film has kept me early to every pipeline shift — from 3D animation and stereoscopic 3D through VR and AR (a decade before headsets went mainstream), to real-time game engines — first in games with Unity at Brainmonster Studios, later in film — and now AI. Whatever the tool, the instinct is the same: finding the right visual solution to a tough creative problem. Today I’m most excited by hybrid GenAI and traditional workflows, bringing AI tools into concept development and custom tooling on my own time in Maya, Unreal Engine, and Adobe Creative Cloud — an Unreal Fellowship alum (In-Camera VFX, 2022) and a Visual Effects Society member since 2021, happiest mentoring artists and testing what’s next.

What ties it all together is storytelling, whether through a still image, an interactive experience, or moving images. Bringing a designer’s eye to each, I connect those forms into new perspectives, ideas, and workflows.

Show My Story at a Glance