VFX Supervisor

Raúl Pano

First of all I would like to introduce myself, my name is Raúl Pano. I am a professional techni-
cian in computer science. However, my career changed completely when I discover my natu-
ral artistic skills and I specialized in visual effects endorsed by Autodesk University. In addi-
tion, I took different courses of designed software and video.

Moreover, my profesional experience started in 2005 in the second largest TV company in
Mexico, there I faced the challenge of understanding the atmosphere of a set, and mostly how
this set needed to be adapted to the Visual Effects and adapted the vfx to post production

workflow streams at 29.97 in 720 interlaced to broadcast. Apart from this, with the technol-
ogy changes to HD I started to learn progressives workflow which leaded me to specialize

towards composition techniques as its development, from the set. As a result, those tech-
niques helped solve dynamics and production flows.

Furthermore, in 2014 I joined the group of virtual systems, operating with Vizarti, Chyron
Hego, Monarch Virtuoso and Previzion from lightcraft, integrating post-production for live
television. At this point, I mastered the 2D and 2.5D composition.
In addition, the following year I got an opportunity to collaborate with live u, developing
streaming processes with brightcove plataforms, setting up the virtual set and creating a
breach through live u in local and satellite CDN.

Subsequently, in 2017 I get to be part of the Gabriel García Marquez studios as a vfx supervi-
sor, taking over the management of the area, directing vfx scenes for external clients such as:

Netflix, Viacom, Amazon, Telemundo.
As well as that, Google hired me in 2017 and 2018 to be a mentor for development groups in
YouTube called "next up" camp, teaching content for creators in post-production and visual
Currently, due to COVID situation, I am developing techniques with the actors isolated with
chromakey resources and data collection to add them to the post flows in massification of
visual effects per shoot in super series of 80 chapters.
To conclude I would like to add that throughout this years I’ve got extensive experience

supervising and directing visual effects with virtual production, post-production and meth-
ods developed according to the industry.

Film Credits