Creating a technical and creative pipeline for a 360 campaign of FX’s largest show, Shogun. Culminating in a 6 minute world of Shogun short to help ease new viewers into the expanse that is Shogun. Working with vendors as well as with an internal team we were able to bring a new look to Shogun while remaining authentic to the history. From photorealistic metahumans to interactive 3js models we touched on nearly every degree of the 360.

The series finale promo for The Mayans. We used a combo of cg, drone, street and studio footage to create this surreal pull into the shadows. We created a dichotomy of light and darkness to harken back to the show’s overall power struggle. EZ trying to out run his turmoiled past to a cliff that looks like salvation.

Traditional VFX, using new technology, and a pinch of ominous creativity. Harnessing the power of unreal to drive the look of this dark who-done-it. Title: VFX Director, On set supervisor. Roles: FX, Lighting, Comp, scene layout.

The goal for Legion S2 was to highlight the surreal landscape of Davids mind as he entered his guru phase. Being set in the 60s but with concepts of the future left a wide landscape to test in. I stuck with patterns and symbols that represented the 1960s, but kept the rendering ultra photo real to keep things grounded in the future. On set we used a combo of tradionally shot footage and motion control for the heavier cg areas.

The series finale promo for The Mayans. We used a combo of cg, drone, street and studio footage to create this surreal pull into the shadows. We created a dichotomy of light and darkness to harken back to the show’s overall power struggle. EZ trying to out run his turmoiled past to a cliff that looks like salvation.

The Dev's set didn't have an area where you could see the Maya statue and a full actor at the same time. So we created everything in Cg. Fun fact the trees are fully procedural and instanced down to each individual needle.

The series finale promo for The Mayans. We used a combo of cg, drone, street and studio footage to create this surreal pull into the shadows. We created a dichotomy of light and darkness to harken back to the show’s overall power struggle. EZ trying to out run his turmoiled past to a cliff that looks like salvation.

Knowing the look would be ultra graphic we decided on getting CG scans of the actors. After a really fun mocap session we were ready to apply treatments.

Done in Houdini we used an infection based RBD system to give us the feeling of something as weighty as democracy crumbling.

Branding Concepts.

I was lucky to start at the very beginning of Mitty, leading the previs team. Throughout production I moved into varios roles.

Various commercial work from around the states.

Hi, this is my creative “studio” space. All of the cool other domain suffixes were taken, except for .cool, but that felt a little on the nose. Welcome, take your shoes off, stay a while. My name is Michael Angelo Viscione II. I am a 2nd because my family was really into the Ninja Turtles. I am a VFX supervisor/director/creative who dabbles in coding, writing and art making. My family and I live in Los Angeles CA; we all love cats. For any info about which programs I use, languages, reel breakdowns, the location of my cat tatoo, you know whatever, please contact me.