Felix Jorge

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A man with curly hair and a nose ring stands against a dark blue wall with graffiti. He is wearing a white dress shirt, a patterned tie, and a black leather jacket with white contrast stitching.
A man with curly shoulder-length hair poses against a solid dark brown background. He is wearing a formal black suit with a white shirt and patterned tie, layered under an oversized black leather jacket featuring white stitching. He has several rings on his fingers and an ornamental belt buckle.
A low-angle shot of a man with curly hair looking off to the side while leaning against a dark maroon wall. He is dressed in a white shirt, a black tie, a black suit jacket, and a black leather jacket with visible white stitching.

Felix Jorge

0%

0%

A man with curly hair and a nose ring stands against a dark blue wall with graffiti. He is wearing a white dress shirt, a patterned tie, and a black leather jacket with white contrast stitching.
A man with curly shoulder-length hair poses against a solid dark brown background. He is wearing a formal black suit with a white shirt and patterned tie, layered under an oversized black leather jacket featuring white stitching. He has several rings on his fingers and an ornamental belt buckle.
A low-angle shot of a man with curly hair looking off to the side while leaning against a dark maroon wall. He is dressed in a white shirt, a black tie, a black suit jacket, and a black leather jacket with visible white stitching.

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Obi-Wan Kenobi

Series / TV

VP Producer

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Overview

Obi-Wan Kenobi was an LED volume virtual production. The goal for the virtual art department was to take the virtual sets as far as possible in pre-production, guided by the key creatives, rather than taking them straight onto the stage to shoot as final in-camera environments, the way Ahsoka and the later shows did.

I was VP Producer at Narwhal Studios, one of seven Star Wars seasons I supported. I built the VAD team, set rates and schedules, had recurring budget meetings with production, and supported the art director and production designers through the show.

Over seven months a team of 15 VAD artists built 14 hero locations in Unreal Engine for the LED volume, each containing multiple sets: 60+ variants, 85+ lighting scenarios, 350+ cameras placed, 170+ stage walks, 55+ prelight and blocking sessions and 37 virtual location scouts.

I later presented the show's virtual production at the ASC Master Class with PD Todd Cherniawsky, DP Baz Idoine, ASC, and Epic Games.

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Category

Series / TV

Role

VP Producer

Pipeline

Virtual Art Department

Virtual Production

Virtual Scouting

Prelighting

Format

16:9 Aspect

4K Resolution

Client

Lucasfilm

Date

2021