MUJ

MUJIA

© CORE INFORMATION コア情報

(HOME-S1-01)

Visionary Strategist & Creative Director | クリエイティブディレクター

I bring creativity and technology together to make things that matter…work that sparks curiosity, connects people, and makes lasting impact.

Mujia Liao is a visionary strategist, future pioneer, and purpose-driven leader shaping the evolution of creativity, technology, and storytelling. Operating at the intersection of innovation and meaning, she pushes boundaries—exploring how art, technology, and philosophy converge to create new possibilities, deeper impact, and lasting value.

With over a decade of leadership in the entertainment industry, Mujia serves as Head of Creative Operations, Innovation Lab at PIXOMONDO. She has contributed to over 50 high-profile, award-winning projects, including The Mandalorian, Star Trek: Discovery, Halo, Wonder Woman, and The Fast and the Furious. At PXO, she helped transform the company from a traditional VFX studio into one of the industry’s leading virtual production providers, and now leads the charge in building a team focused on cutting-edge technology, innovation, and generative AI.

Beyond her work in entertainment, Mujia is committed to mentorship and fostering the next generation of creative talent. She has served on the Advisory Board for the Academy of Canadian Cinema & Television’s Women in Post program, as a PAC member for Sheridan College’s CAVE degree, and as a speaker at DGC, FMX, VES, and other industry events. She actively champions healthy, thriving creative environments where innovation and collaboration go hand in hand with sustainable, meaningful growth.

Her mission is to bridge the gap between creativity, innovation, and purpose—ensuring we don’t just create, but create what truly matters.

With over a decade of leadership in the entertainment industry, Mujia serves as Head of Creative Operations, Innovation Lab at PIXOMONDO. She has contributed to over 50 high-profile, award-winning projects, including The Mandalorian, Star Trek: Discovery, Halo, Wonder Woman, and The Fast and the Furious. At PXO, she helped transform the company from a traditional VFX studio into one of the industry’s leading virtual production providers, and now leads the charge in building a division focused on cutting-edge technology, innovation, and generative AI.

Her mission is to bridge the gap between creativity, innovation, and purpose—ensuring we don’t just create, but create what truly matters.

With over a decade of leadership in the entertainment industry, Mujia serves as Head of Creative Operations, Innovation Lab at PIXOMONDO. She has contributed to over 50 high-profile, award-winning projects, including The Mandalorian, Star Trek: Discovery, Halo, Wonder Woman, and The Fast and the Furious. At PXO, she helped transform the company from a traditional VFX studio into one of the industry’s leading virtual production providers, and now leads the charge in building a division focused on cutting-edge technology, innovation, and generative AI.

Her mission is to bridge the gap between creativity, innovation, and purpose—ensuring we don’t just create, but create what truly matters.

Bringing creativity and technology together to make things that matter…work that sparks curiosity, connects people, and makes lasting impact.

Muj

© Featured Updates アップデート

(HOME-S2-01)

NEWS & UPDATES | 更新情報

Follow Mujia on Social Media @koloromuj

NEWS & UPDATES

NEWS & UPDATES

NEWS & UPDATES

What's Happening

ニュースと最新情報

What's Happening

ニュースと最新情報

22nd Annual VES Awards

In 2024, Mujia was nominated for her contributions as an Art Director on the popular series Star Trek: Strange New Worlds, specifically for the episode "The Broken Circle," at the 22nd Annual VES Awards in the category "Outstanding Created Environment in an Episode, Commercial, Game Cinematic, or Real-Time Project.

22nd Annual VES Awards

In 2024, Mujia was nominated for her contributions as an Art Director on the popular series Star Trek: Strange New Worlds, specifically for the episode "The Broken Circle," at the 22nd Annual VES Awards in the category "Outstanding Created Environment in an Episode, Commercial, Game Cinematic, or Real-Time Project.

PXO Innovation Lab led a four-week workshop at SONY’s Tokyo HQ, teaming with 15+ creatives and technicians to build an anime-inspired Proof of Concept, showcasing advanced visualization, performance capture, and generative AI workflows.

Close-up portrait of a person wearing a gray insulated hooded jacket with the hood up, showing their face framed by the hood against a light background.

2025-06-01 : 2025-07-01

Advanced Visualization Workshop

「SONY HQ」, Tokyo, Japan

In spring 2025, Mujia and the PXO Innovation Lab team traveled to Riyadh, Saudi Arabia, to host a two-day workshop on Virtual Art Department (VAD) workflows, sharing expertise and hands-on insights from years of developing advanced real-time environments for virtual production.

2025-04-29 : 2025-04-30

VP Academy Workshop

「BEYOND XYZ」, Riyadh, Saudi Arabia

2025-06-01 : 2025-07-01

Advanced Visualization Workshop

「SONY HQ」, Tokyo, Japan

2025-04-29 : 2025-04-30

VP Academy Workshop

「BEYOND XYZ」, Riyadh, Saudi Arabia

PXO Innovation Lab partnered with SONY PCL to create a spaceship environment for Retake. Mujia and the team spent a week in Tokyo, supporting the hero shoot of the astronaut’s exit — a complex scene where the stunt team, lighting, and virtual content all had to work in perfect sync to capture the one-take moment flawlessly.

2024-06-29 : 2024-07-07

Short FIlm "Retake" Shoot

「清澄白河BASE」, Tokyo, Japan

PXO Innovation Lab and PXO Clara created a real-time project where sound drives the visuals, with animation precisely timed to the audio. Demoed at SONY Pictures Studio, it showcased to music executives and producers how music and visuals can fuse into a powerful tool for dynamic music videos.

2024-01-28 : 2024-02-01

SONY MUSIC Demo

「SONY Pictures Studios」, Los Angeles, USA

2024-06-29 : 2024-07-07

Short FIlm "Retake" Shoot

「清澄白河BASE」, Tokyo, Japan

2024-01-28 : 2024-02-01

SONY MUSIC Demo

「SONY Pictures Studios」, Los Angeles, USA

© Featured Updates アップデート

(HOME-S2-02)

PANELS & TALKS | イベントパネル登壇

Panels & Talks

パネルと講演

Panels & Talks

パネルと講演

PXO x SONY PCL at「清澄白河BASE」

DGC 2025 | 2025-09-27
PXO x DGC "Art Department and Virtual Production Integration"

清澄白河BASE | 2024-11-05
"Elevating VP Quality to the Next Stage : The Role of VAD in “Retake”

Unreal Fest Tokyo 2024 | 2024-11-02
"VPのクオリティを次のステージへ PIXOMONDO ×『清澄白河BASE』でつくりだす『リテイク』に見るVADの役割とは"

FAN EXPO | 2024-08-24
"Sheridan College Alumni Meet & Greet"

VES | 2023-12-11
"Virtual Production: Exploring Career Options in a New Artform"

World VFX Day 2023 | 2023-12-08
"World VFX Day Talk"

DGC 2023 | 2023-02-16
"DGC Masterclass Panel"

Unreal Fellowship | 2023-02-14
"World Building EMEA Speaker : Collaborating with Filmmakers in Virtual Production"

Academy Talks | 2022-12-12
"Academy Talks : Ways & Means | Careers in VFX and Gaming"

VRTO 2022 | 2022-07-20
"Virtual Production Workshop"

Centennial College | 2022-07-06
"Concept Art for TV & FILM"

Dark Slope | 2022-05-27
"Unreal Engine & Friends Meetup at Toronto Headquarters"

Sheridan College | 2022-03-22
"Virtual Production Essentials"

FMX 2021 | 2021-05-04
"Virtual Production in Star Trek : Discovery and Star Trek : Strange New Worlds"

PXO x SONY PCL at「清澄白河BASE」

DGC 2025 | 2025-09-27
PXO x DGC "Art Department and Virtual Production Integration"

© Featured Updates アップデート

(HOME-S2-03)

ARTICLES & FEATURES | 記事・特集

Articles & Features

記事と特集

Articles & Features

記事と特集

VIDEO SALON . web

“LEDパネル内に創造された宇宙” ソニーPCLとPixomondoのタッグが新たなバーチャルプロダクション作品に挑戦！

2024-12-04

VIDEO SALON . web did a coverage on the workshop held at 『清澄白河BASE』for Japanese Film/TV industry professionals on how we created the VP shoot during "Retake".

VOOK

【バーチャルプロダクション】Pixomondoのアートディレクターが解説。世界標準のVADワークフローとその効能

2024-12-03

Another media team VOOK's coverage on the workshop at 『清澄白河BASE』on the workflow for VP shoot on short film "Retake" between PXO and SONY PCL.

80LV

"The Pixomondo Team Discussed Working on the Halo TV Series"

2022-09-07

MattePaint interviewed PXO’s Head of Virtual Art Department Mujia Liao and Matte Painting Supervisor Dieter Magallan on creating environments for the 2022 Halo TV series. They discussed using time-lapse HDRI sequences to bring the game’s world to life, overcoming challenges, and saving production time.

VFX Voice

How Internal Art Departments Help to Shape the VFX Story

2022-01-10

Featured in an industry roundtable on how internal art departments shape VFX storytelling, sharing how PXO’s Virtual Art Department designs and builds real-time assets for virtual production. Explained the process of creating mood boards, key art, and detailed design packages to establish a strong creative foundation for both VP and final VFX work.

VIDEO SALON . web

“LEDパネル内に創造された宇宙” ソニーPCLとPixomondoのタッグが新たなバーチャルプロダクション作品に挑戦！

2024-12-04

VIDEO SALON . web did a coverage on the workshop held at 『清澄白河BASE』for Japanese Film/TV industry professionals on how we created the VP shoot during "Retake".

VOOK

【バーチャルプロダクション】Pixomondoのアートディレクターが解説。世界標準のVADワークフローとその効能

2024-12-03

Another media team VOOK's coverage on the workshop at 『清澄白河BASE』on the workflow for VP shoot on short film "Retake" between PXO and SONY PCL.

80LV

"The Pixomondo Team Discussed Working on the Halo TV Series"

2022-09-07

VFX Voice

How Internal Art Departments Help to Shape the VFX Story

2022-01-10

80LV

"The Pixomondo Team Discussed Working on the Halo TV Series"

2022-09-07

VFX Voice

How Internal Art Departments Help to Shape the VFX Story

2022-01-10

PROJECTS

© Featured Projects プロジェクト

(HOME-S3-01)

TELEVISION & MOVIE & SHORT FILM | テレビ・映画プロジェクト

18+ years of dedication to craft, creativity, and leadership.

Check IMDB for full Filmography

I believe great work comes from collaboration. By working closely with filmmakers, artists, technicians, I help guide the team through strategy and vision to ensure every project meets client's goals and exceeds expectations.

Future Driven Vision
Generative AI
Global Partnership
Environment Design
Value Generation
Real-Time Content
Leadership
Art Direction

Future Driven Vision
Generative AI
Global Partnership
Environment Design
Value Generation
Real-Time Content
Leadership
Art Direction

Successful Projects

Perfectionism

Successful Projects

Perfectionism

Television
DISNEY+
The Mandalorian marked a major industry shift, proving virtual production could revolutionize filmmaking with LED volumes and real-time rendering. While my team worked in a traditional VFX capacity, this was my first exposure to the technology.
Feature Film
Paramount+
Star Trek: Section 31, starring Michelle Yeoh, marks the first feature film in the franchise to embrace virtual production that I was fortunate to work on. This project pushed the boundaries of LED volume environments and set extensions, delivering some of the most immersive and visually stunning scenes.
Television
Paramount+
Having worked on Star Trek: Discovery across all five seasons, I witnessed its evolution from traditional VFX to virtual production. The early seasons relied heavily on conventional workflows, but by Season 4, virtual production was integrated, transforming how environments and effects were created.
Feature Film
Lionsgate
Keanu Reeves has long been one of my favorite actors, and contributing to the fan-favorite John Wick series was a real highlight—where I created concept art for several of Keanu’s fight sequences.
Television
Paramount+
Star Trek: Strange New Worlds was a milestone in fully integrating virtual production, utilizing LED volumes and real-time workflows to bring its expansive worlds to life. This project also marked a personal achievement—earning me my first VES Award nomination.
Feature Film
STX Entertainment
In Greenland, our team at Pixomondo served as the primary visual effects vendor, undertaking the majority of the VFX work for the film—a notable responsibility, as such tasks are typically distributed among multiple studios.
Television
Paramount+
Halo was a project that I worked as VFX Art Director, help to create photorealistic looks of environments, design and define the look of an iconic character of the franchise : Cortana and bring her to life.
Feature Film
Warner Bros.
Wonder Woman was my first high-profile feature as a Digital Matte Painting Supervisor, marking a pivotal step in my leadership journey. While leading this project, I also ran the DMP department as Head of Department, managing multiple large-scale productions simultaneously.
Television
HBO
One of the best television series we worked on, through out the various episodes, we refined our workflow and techniques doing 2.5D projections for many environments and greatly improved the efficiency in which we delivered work to client.
Feature Film
Universal Pictures
Fast & Furious 8: The Fate of the Furious was one of the standout projects with incredible global box office success. I had the opportunity to lead the environment team at PIXOMONDO, delivering extensive set extensions across multiple sequences.
Television
Netflix
One of the very first live action television series I worked on in my career, doing many concept art, digital matte paintings and proud to have delivered all the visual effects for the series with a small team at PIXOMONDO.
Feature Film
Lionsgate
As one of the very first feature films I worked on, I was the sole Matte Painter on the team and was fortunate to bring many environments to the silver screen through set extensions—an important step early in my visual effects career.
Television
DISNEY+
The Mandalorian marked a major industry shift, proving virtual production could revolutionize filmmaking with LED volumes and real-time rendering. While my team worked in a traditional VFX capacity, this was my first exposure to the technology.
Feature Film
Paramount+
Star Trek: Section 31, starring Michelle Yeoh, marks the first feature film in the franchise to embrace virtual production that I was fortunate to work on. This project pushed the boundaries of LED volume environments and set extensions, delivering some of the most immersive and visually stunning scenes.
Television
Paramount+
Having worked on Star Trek: Discovery across all five seasons, I witnessed its evolution from traditional VFX to virtual production. The early seasons relied heavily on conventional workflows, but by Season 4, virtual production was integrated, transforming how environments and effects were created.
Feature Film
Lionsgate
Keanu Reeves has long been one of my favorite actors, and contributing to the fan-favorite John Wick series was a real highlight—where I created concept art for several of Keanu’s fight sequences.
Television
Paramount+
Star Trek: Strange New Worlds was a milestone in fully integrating virtual production, utilizing LED volumes and real-time workflows to bring its expansive worlds to life. This project also marked a personal achievement—earning me my first VES Award nomination.
Feature Film
STX Entertainment
In Greenland, our team at Pixomondo served as the primary visual effects vendor, undertaking the majority of the VFX work for the film—a notable responsibility, as such tasks are typically distributed among multiple studios.
Television
Paramount+
Halo was a project that I worked as VFX Art Director, help to create photorealistic looks of environments, design and define the look of an iconic character of the franchise : Cortana and bring her to life.
Feature Film
Warner Bros.
Wonder Woman was my first high-profile feature as a Digital Matte Painting Supervisor, marking a pivotal step in my leadership journey. While leading this project, I also ran the DMP department as Head of Department, managing multiple large-scale productions simultaneously.
Television
HBO
One of the best television series we worked on, through out the various episodes, we refined our workflow and techniques doing 2.5D projections for many environments and greatly improved the efficiency in which we delivered work to client.
Feature Film
Universal Pictures
Fast & Furious 8: The Fate of the Furious was one of the standout projects with incredible global box office success. I had the opportunity to lead the environment team at PIXOMONDO, delivering extensive set extensions across multiple sequences.
Television
Netflix
One of the very first live action television series I worked on in my career, doing many concept art, digital matte paintings and proud to have delivered all the visual effects for the series with a small team at PIXOMONDO.
Feature Film
Lionsgate
As one of the very first feature films I worked on, I was the sole Matte Painter on the team and was fortunate to bring many environments to the silver screen through set extensions—an important step early in my visual effects career.
Television
DISNEY+
The Mandalorian marked a major industry shift, proving virtual production could revolutionize filmmaking with LED volumes and real-time rendering. While my team worked in a traditional VFX capacity, this was my first exposure to the technology.
Feature Film
Paramount+
Star Trek: Section 31, starring Michelle Yeoh, marks the first feature film in the franchise to embrace virtual production that I was fortunate to work on. This project pushed the boundaries of LED volume environments and set extensions, delivering some of the most immersive and visually stunning scenes.
Television
Paramount+
Having worked on Star Trek: Discovery across all five seasons, I witnessed its evolution from traditional VFX to virtual production. The early seasons relied heavily on conventional workflows, but by Season 4, virtual production was integrated, transforming how environments and effects were created.
Feature Film
Lionsgate
Keanu Reeves has long been one of my favorite actors, and contributing to the fan-favorite John Wick series was a real highlight—where I created concept art for several of Keanu’s fight sequences.
Television
Paramount+
Star Trek: Strange New Worlds was a milestone in fully integrating virtual production, utilizing LED volumes and real-time workflows to bring its expansive worlds to life. This project also marked a personal achievement—earning me my first VES Award nomination.
Feature Film
STX Entertainment
In Greenland, our team at Pixomondo served as the primary visual effects vendor, undertaking the majority of the VFX work for the film—a notable responsibility, as such tasks are typically distributed among multiple studios.
Television
Paramount+
Halo was a project that I worked as VFX Art Director, help to create photorealistic looks of environments, design and define the look of an iconic character of the franchise : Cortana and bring her to life.
Feature Film
Warner Bros.
Wonder Woman was my first high-profile feature as a Digital Matte Painting Supervisor, marking a pivotal step in my leadership journey. While leading this project, I also ran the DMP department as Head of Department, managing multiple large-scale productions simultaneously.
Television
HBO
One of the best television series we worked on, through out the various episodes, we refined our workflow and techniques doing 2.5D projections for many environments and greatly improved the efficiency in which we delivered work to client.
Feature Film
Universal Pictures
Fast & Furious 8: The Fate of the Furious was one of the standout projects with incredible global box office success. I had the opportunity to lead the environment team at PIXOMONDO, delivering extensive set extensions across multiple sequences.
Television
Netflix
One of the very first live action television series I worked on in my career, doing many concept art, digital matte paintings and proud to have delivered all the visual effects for the series with a small team at PIXOMONDO.
Feature Film
Lionsgate
As one of the very first feature films I worked on, I was the sole Matte Painter on the team and was fortunate to bring many environments to the silver screen through set extensions—an important step early in my visual effects career.
Television
DISNEY+
The Mandalorian marked a major industry shift, proving virtual production could revolutionize filmmaking with LED volumes and real-time rendering. While my team worked in a traditional VFX capacity, this was my first exposure to the technology.
Feature Film
Paramount+
Star Trek: Section 31, starring Michelle Yeoh, marks the first feature film in the franchise to embrace virtual production that I was fortunate to work on. This project pushed the boundaries of LED volume environments and set extensions, delivering some of the most immersive and visually stunning scenes.
Television
Paramount+
Having worked on Star Trek: Discovery across all five seasons, I witnessed its evolution from traditional VFX to virtual production. The early seasons relied heavily on conventional workflows, but by Season 4, virtual production was integrated, transforming how environments and effects were created.
Feature Film
Lionsgate
Keanu Reeves has long been one of my favorite actors, and contributing to the fan-favorite John Wick series was a real highlight—where I created concept art for several of Keanu’s fight sequences.
Television
Paramount+
Star Trek: Strange New Worlds was a milestone in fully integrating virtual production, utilizing LED volumes and real-time workflows to bring its expansive worlds to life. This project also marked a personal achievement—earning me my first VES Award nomination.
Feature Film
STX Entertainment
In Greenland, our team at Pixomondo served as the primary visual effects vendor, undertaking the majority of the VFX work for the film—a notable responsibility, as such tasks are typically distributed among multiple studios.
Television
Paramount+
Halo was a project that I worked as VFX Art Director, help to create photorealistic looks of environments, design and define the look of an iconic character of the franchise : Cortana and bring her to life.
Feature Film
Warner Bros.
Wonder Woman was my first high-profile feature as a Digital Matte Painting Supervisor, marking a pivotal step in my leadership journey. While leading this project, I also ran the DMP department as Head of Department, managing multiple large-scale productions simultaneously.
Television
HBO
One of the best television series we worked on, through out the various episodes, we refined our workflow and techniques doing 2.5D projections for many environments and greatly improved the efficiency in which we delivered work to client.
Feature Film
Universal Pictures
Fast & Furious 8: The Fate of the Furious was one of the standout projects with incredible global box office success. I had the opportunity to lead the environment team at PIXOMONDO, delivering extensive set extensions across multiple sequences.
Television
Netflix
One of the very first live action television series I worked on in my career, doing many concept art, digital matte paintings and proud to have delivered all the visual effects for the series with a small team at PIXOMONDO.
Feature Film
Lionsgate
As one of the very first feature films I worked on, I was the sole Matte Painter on the team and was fortunate to bring many environments to the silver screen through set extensions—an important step early in my visual effects career.

Television
DISNEY+
The Mandalorian marked a major industry shift, proving virtual production could revolutionize filmmaking with LED volumes and real-time rendering. While my team worked in a traditional VFX capacity, this was my first exposure to the technology.
Feature Film
Paramount+
Star Trek: Section 31, starring Michelle Yeoh, marks the first feature film in the franchise to embrace virtual production that I was fortunate to work on. This project pushed the boundaries of LED volume environments and set extensions, delivering some of the most immersive and visually stunning scenes.
Television
Paramount+
Having worked on Star Trek: Discovery across all five seasons, I witnessed its evolution from traditional VFX to virtual production. The early seasons relied heavily on conventional workflows, but by Season 4, virtual production was integrated, transforming how environments and effects were created.
Feature Film
Lionsgate
Keanu Reeves has long been one of my favorite actors, and contributing to the fan-favorite John Wick series was a real highlight—where I created concept art for several of Keanu’s fight sequences.
Television
Paramount+
Star Trek: Strange New Worlds was a milestone in fully integrating virtual production, utilizing LED volumes and real-time workflows to bring its expansive worlds to life. This project also marked a personal achievement—earning me my first VES Award nomination.
Feature Film
STX Entertainment
In Greenland, our team at Pixomondo served as the primary visual effects vendor, undertaking the majority of the VFX work for the film—a notable responsibility, as such tasks are typically distributed among multiple studios.
Television
Paramount+
Halo was a project that I worked as VFX Art Director, help to create photorealistic looks of environments, design and define the look of an iconic character of the franchise : Cortana and bring her to life.
Feature Film
Warner Bros.
Wonder Woman was my first high-profile feature as a Digital Matte Painting Supervisor, marking a pivotal step in my leadership journey. While leading this project, I also ran the DMP department as Head of Department, managing multiple large-scale productions simultaneously.
Television
HBO
One of the best television series we worked on, through out the various episodes, we refined our workflow and techniques doing 2.5D projections for many environments and greatly improved the efficiency in which we delivered work to client.
Feature Film
Universal Pictures
Fast & Furious 8: The Fate of the Furious was one of the standout projects with incredible global box office success. I had the opportunity to lead the environment team at PIXOMONDO, delivering extensive set extensions across multiple sequences.
Television
Netflix
One of the very first live action television series I worked on in my career, doing many concept art, digital matte paintings and proud to have delivered all the visual effects for the series with a small team at PIXOMONDO.
Feature Film
Lionsgate
As one of the very first feature films I worked on, I was the sole Matte Painter on the team and was fortunate to bring many environments to the silver screen through set extensions—an important step early in my visual effects career.
Television
DISNEY+
The Mandalorian marked a major industry shift, proving virtual production could revolutionize filmmaking with LED volumes and real-time rendering. While my team worked in a traditional VFX capacity, this was my first exposure to the technology.
Feature Film
Paramount+
Star Trek: Section 31, starring Michelle Yeoh, marks the first feature film in the franchise to embrace virtual production that I was fortunate to work on. This project pushed the boundaries of LED volume environments and set extensions, delivering some of the most immersive and visually stunning scenes.
Television
Paramount+
Having worked on Star Trek: Discovery across all five seasons, I witnessed its evolution from traditional VFX to virtual production. The early seasons relied heavily on conventional workflows, but by Season 4, virtual production was integrated, transforming how environments and effects were created.
Feature Film
Lionsgate
Keanu Reeves has long been one of my favorite actors, and contributing to the fan-favorite John Wick series was a real highlight—where I created concept art for several of Keanu’s fight sequences.
Television
Paramount+
Star Trek: Strange New Worlds was a milestone in fully integrating virtual production, utilizing LED volumes and real-time workflows to bring its expansive worlds to life. This project also marked a personal achievement—earning me my first VES Award nomination.
Feature Film
STX Entertainment
In Greenland, our team at Pixomondo served as the primary visual effects vendor, undertaking the majority of the VFX work for the film—a notable responsibility, as such tasks are typically distributed among multiple studios.
Television
Paramount+
Halo was a project that I worked as VFX Art Director, help to create photorealistic looks of environments, design and define the look of an iconic character of the franchise : Cortana and bring her to life.
Feature Film
Warner Bros.
Wonder Woman was my first high-profile feature as a Digital Matte Painting Supervisor, marking a pivotal step in my leadership journey. While leading this project, I also ran the DMP department as Head of Department, managing multiple large-scale productions simultaneously.
Television
HBO
One of the best television series we worked on, through out the various episodes, we refined our workflow and techniques doing 2.5D projections for many environments and greatly improved the efficiency in which we delivered work to client.
Feature Film
Universal Pictures
Fast & Furious 8: The Fate of the Furious was one of the standout projects with incredible global box office success. I had the opportunity to lead the environment team at PIXOMONDO, delivering extensive set extensions across multiple sequences.
Television
Netflix
One of the very first live action television series I worked on in my career, doing many concept art, digital matte paintings and proud to have delivered all the visual effects for the series with a small team at PIXOMONDO.
Feature Film
Lionsgate
As one of the very first feature films I worked on, I was the sole Matte Painter on the team and was fortunate to bring many environments to the silver screen through set extensions—an important step early in my visual effects career.
Television
DISNEY+
The Mandalorian marked a major industry shift, proving virtual production could revolutionize filmmaking with LED volumes and real-time rendering. While my team worked in a traditional VFX capacity, this was my first exposure to the technology.
Feature Film
Paramount+
Star Trek: Section 31, starring Michelle Yeoh, marks the first feature film in the franchise to embrace virtual production that I was fortunate to work on. This project pushed the boundaries of LED volume environments and set extensions, delivering some of the most immersive and visually stunning scenes.
Television
Paramount+
Having worked on Star Trek: Discovery across all five seasons, I witnessed its evolution from traditional VFX to virtual production. The early seasons relied heavily on conventional workflows, but by Season 4, virtual production was integrated, transforming how environments and effects were created.
Feature Film
Lionsgate
Keanu Reeves has long been one of my favorite actors, and contributing to the fan-favorite John Wick series was a real highlight—where I created concept art for several of Keanu’s fight sequences.
Television
Paramount+
Star Trek: Strange New Worlds was a milestone in fully integrating virtual production, utilizing LED volumes and real-time workflows to bring its expansive worlds to life. This project also marked a personal achievement—earning me my first VES Award nomination.
Feature Film
STX Entertainment
In Greenland, our team at Pixomondo served as the primary visual effects vendor, undertaking the majority of the VFX work for the film—a notable responsibility, as such tasks are typically distributed among multiple studios.
Television
Paramount+
Halo was a project that I worked as VFX Art Director, help to create photorealistic looks of environments, design and define the look of an iconic character of the franchise : Cortana and bring her to life.
Feature Film
Warner Bros.
Wonder Woman was my first high-profile feature as a Digital Matte Painting Supervisor, marking a pivotal step in my leadership journey. While leading this project, I also ran the DMP department as Head of Department, managing multiple large-scale productions simultaneously.
Television
HBO
One of the best television series we worked on, through out the various episodes, we refined our workflow and techniques doing 2.5D projections for many environments and greatly improved the efficiency in which we delivered work to client.
Feature Film
Universal Pictures
Fast & Furious 8: The Fate of the Furious was one of the standout projects with incredible global box office success. I had the opportunity to lead the environment team at PIXOMONDO, delivering extensive set extensions across multiple sequences.
Television
Netflix
One of the very first live action television series I worked on in my career, doing many concept art, digital matte paintings and proud to have delivered all the visual effects for the series with a small team at PIXOMONDO.
Feature Film
Lionsgate
As one of the very first feature films I worked on, I was the sole Matte Painter on the team and was fortunate to bring many environments to the silver screen through set extensions—an important step early in my visual effects career.
Television
DISNEY+
The Mandalorian marked a major industry shift, proving virtual production could revolutionize filmmaking with LED volumes and real-time rendering. While my team worked in a traditional VFX capacity, this was my first exposure to the technology.
Feature Film
Paramount+
Star Trek: Section 31, starring Michelle Yeoh, marks the first feature film in the franchise to embrace virtual production that I was fortunate to work on. This project pushed the boundaries of LED volume environments and set extensions, delivering some of the most immersive and visually stunning scenes.
Television
Paramount+
Having worked on Star Trek: Discovery across all five seasons, I witnessed its evolution from traditional VFX to virtual production. The early seasons relied heavily on conventional workflows, but by Season 4, virtual production was integrated, transforming how environments and effects were created.
Feature Film
Lionsgate
Keanu Reeves has long been one of my favorite actors, and contributing to the fan-favorite John Wick series was a real highlight—where I created concept art for several of Keanu’s fight sequences.
Television
Paramount+
Star Trek: Strange New Worlds was a milestone in fully integrating virtual production, utilizing LED volumes and real-time workflows to bring its expansive worlds to life. This project also marked a personal achievement—earning me my first VES Award nomination.
Feature Film
STX Entertainment
In Greenland, our team at Pixomondo served as the primary visual effects vendor, undertaking the majority of the VFX work for the film—a notable responsibility, as such tasks are typically distributed among multiple studios.
Television
Paramount+
Halo was a project that I worked as VFX Art Director, help to create photorealistic looks of environments, design and define the look of an iconic character of the franchise : Cortana and bring her to life.
Feature Film
Warner Bros.
Wonder Woman was my first high-profile feature as a Digital Matte Painting Supervisor, marking a pivotal step in my leadership journey. While leading this project, I also ran the DMP department as Head of Department, managing multiple large-scale productions simultaneously.
Television
HBO
One of the best television series we worked on, through out the various episodes, we refined our workflow and techniques doing 2.5D projections for many environments and greatly improved the efficiency in which we delivered work to client.
Feature Film
Universal Pictures
Fast & Furious 8: The Fate of the Furious was one of the standout projects with incredible global box office success. I had the opportunity to lead the environment team at PIXOMONDO, delivering extensive set extensions across multiple sequences.
Television
Netflix
One of the very first live action television series I worked on in my career, doing many concept art, digital matte paintings and proud to have delivered all the visual effects for the series with a small team at PIXOMONDO.
Feature Film
Lionsgate
As one of the very first feature films I worked on, I was the sole Matte Painter on the team and was fortunate to bring many environments to the silver screen through set extensions—an important step early in my visual effects career.

Episodic

エピソード記録

Cada Minuto Cuenta - Every Minute Counts (2024)
Star Trek : Strange New Worlds Season 3 (2025)
Star Trek : Strange New Worlds Season 2 (2023)
Star Trek : Strange New Worlds Season 1 (2022)
Star Trek : Discovery Season 5 (2023 - 2024)
Star Trek : Discovery Season 4 (2021 - 2022)
Star Trek : Discovery Season 3 (2020 - 2021)
Star Trek : Discovery Season 2 (2018 - 2019)
Star Trek : Discovery Season 1 (2017 - 2018)
Avatar : The Last Airbender (2024)
Halo Season 1 (2022)
Goliath Season 4 (2021)
Goliath Season 3 (2019)
See Season 2 (2021)
Raised by Wolves (2020)
West World : Season 3 (2020)
West World : Season 2 (2018)
The Umbrella Academy : Season 2 (2020)
Locke & key (2020)
Carnival Row (2019)
The Boys (2019)
Star Wars : The Mandalorian (2019)
Star Trek : Short Treks (2019)
Colony Season 3 (2018)
Ocean Giant (2017)
Massive Monster Mayhem (2017)
Fallout 4 : The Wanderer Trailer (2015)
The Walking Dead season 6 (2015)
Fargo : season 2 (2015)
Marco Polo : Season 2 - Netflix (2016)
Marco Polo : Season 1 - Netflix (2014)
Video Game High School (2012)
CAZZETT - Beam Me Up (2012)
Mia and Me (2011 - 2012)
Mud Pit (2010 - 2011)
Dex Hamilton (2008 - 2009)
By the Rapids (2008)

Film

映画の記録

(2025) Star Trek : Section 31
(2024) Retake (Short FIlm)
(2023) John Wick : Chapter 4
(2020) Greenland
(2020) Ava
(2019) Midway
(2018) A Dog's Way Home
(2018) Goosebumps 2 : Haunted Halloween
(2018) Crazy Rich Asians
(2017) Pitch Perfect 3
(2017) The Dark Tower
(2017) Wonder Woman
(2017) Fast and Furious 8 : The Fate of the Furious
(2017) Power Rangers
(2017) xXx : Return of Xander Cage
(2016) The Huntsman: Winter's War
(2016) Allegiant
(2016) Crouching Tiger Hidden Dragon : Sword of Destiny
(2015) Fantastic Four
(2015) Lost in Hong Kong
(2014) The Hunger Games - Mockingjay Part 1
(2013) Garm Wars - The Last Druid
(2012) Curiosity - Battlefield Cell

Episodic

エピソード記録

Film

映画の記録

SERVICES

© Service & Offerings サービスと提供内容

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AVAILABLE OFFERS | 利用可能な特典

Services

サービス

Mujia has been active in the entertainment industry since 2008, contributing to high-profile projects across commercials, television, and feature films. With a foundation in visual effects, virtual production, and real-time innovation, she has evolved from a classically trained artist into a strategist and creative leader.

Her background spans environment design, concept art, digital matte painting, and art direction, but today her focus is on creative leadership and strategy, guiding teams, shaping workflows, and building ecosystems that bring entire worlds to life. She dedicates her own artistry primarily to developing original IPs, stepping into execution only on major productions or when critical support is needed.

Driven by a passion for excellence and collaboration, Mujia partners with studios, creators, and forward-thinkers to explore new possibilities for storytelling and the future of content creation.

Services

サービス

Creative Strategy & Vision

クリエイティブ戦略とビジョン

Guiding studios, creators, and brands from vision to execution. Shaping world-building, storytelling, and design philosophy, while aligning workflows and teams to bring that vision to life.

Innovation & Workflow Development

イノベーションとワークフロー開発

Designing future ready workflows that blend virtual production, real-time tools, and generative AI. Helping teams integrate technology seamlessly into their creative pipelines.

Leadership & Team Building

リーダーシップとチームビルディング

Building and leading cross-disciplinary teams, fostering collaborative environments where artistry, efficiency, and innovation thrive.

Speaking & Thought Leadership

スピーチと思想的リーダーシップ

Speaking at panels, talks, and workshops to share insights on technology, innovation, and the future of content creation, while expanding into the philosophy of value and the deeper role of creativity in our lives.

Advisory & Consultation

アドバイザリー＆コンサルティング

Advising organizations and individuals seeking to stay ahead in entertainment, design, and innovation. Offering tailored guidance on project direction, creative development, and industry positioning.

Creative Strategy & Vision

クリエイティブ戦略とビジョン

Guiding studios, creators, and brands from vision to execution. Shaping world-building, storytelling, and design philosophy, while aligning workflows and teams to bring that vision to life.

Innovation & Workflow Development

イノベーションとワークフロー開発

Designing future ready workflows that blend virtual production, real-time tools, and generative AI. Helping teams integrate technology seamlessly into their creative pipelines.

Leadership & Team Building

リーダーシップとチームビルディング

Building and leading cross-disciplinary teams, fostering collaborative environments where artistry, efficiency, and innovation thrive.

Speaking & Thought Leadership

スピーチと思想的リーダーシップ

Advisory & Consultation

アドバイザリー＆コンサルティング

Advising organizations and individuals seeking to stay ahead in entertainment, design, and innovation. Offering tailored guidance on project direction, creative development, and industry positioning.

80LV

"The Pixomondo Team Discussed Working on the Halo TV Series"

2022-09-07

VFX Voice

How Internal Art Departments Help to Shape the VFX Story

2022-01-10

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COLLABORATION | コラボレーション

Partnership & Collaboration

パートナーシップとコラボレーション

Partnership & Collaboration

パートナーシップとコラボレーション

FAQ.

Q1: What kind of services do you provide?

I work at the intersection of creativity, strategy, and innovation. My services span creative direction, workflow design, and leadership, helping studios and creators shape ambitious projects from vision to execution.

Q2: Who do you usually work with?

I collaborate with studios, production teams, and forward-thinking creators who want to push boundaries in storytelling and technology. My work is especially suited for projects that blend artistry with innovation, whether in film, television, or emerging digital spaces.

Q3: Do you still create artwork yourself?

My background spans environment design, matte painting, and art direction, but today my focus is on creative leadership and strategy. I dedicate most of my personal artistry to original IP development, stepping into direct creative execution only for major projects or when my team needs critical support.

Q4: Can I collaborate with you on a project?

Absolutely. I’m always open to meaningful collaborations, whether with studios, independent creators, or innovators exploring new frontiers. If you have an idea that needs creative strategy, or a project facing challenges that call for innovative solutions, I’d love to hear from you.

Q5: What inspires your work?

At the core of everything I do is the pursuit of value, helping people recognize the hidden worth in creativity, technology, and themselves. I’m inspired by the challenge of turning ideas into experiences that resonate, spark imagination, and leave a lasting impact.

Q6: What are you working on now?

I’m currently developing original IPs such as Koloro, while also leading innovation projects exploring real-time workflows, virtual production, and generative AI. I share progress and announcements in the News & Updates section, and dive deeper into reflections, project development, and new ventures like my YouTube channel on the Blog.

Q1: What kind of services do you provide?

Q2: Who do you usually work with?

Q3: Do you still create artwork yourself?

Q4: Can I collaborate with you on a project?

Q5: What inspires your work?

Q6: What are you working on now?

Feel free to mail for any inquiries to : info@mujia.com

Feel free to mail us for any enquiries :
orbai@support.com

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LATEST INSIGHTS & REFLECTIONS | 最新の洞察と考察

Letters to Myself.

自分への手紙

Letters to Myself.

自分への手紙

BLOG

A journey of discovery and reflections, seeking the hidden value in life.

Through 「Letters to Myself」, Mujia reflects on the search for meaning and the hidden value in life, documenting her journey as personal entries that invite others to reflect alongside her. Follow along for her latest discoveries, ideas, and insights…from personal reflections to industry perspectives.

See all BLOG Entries

August 19, 2025

Becoming Your Future Self : A Mindset Shift

Step beyond the comfort of my present self and instead speak from the perspective who I am becoming - The Future Me.

August 19, 2025

Becoming Your Future Self : A Mindset Shift

Step beyond the comfort of my present self and instead speak from the perspective who I am becoming - The Future Me.

August 19, 2025

Becoming Your Future Self : A Mindset Shift

Step beyond the comfort of my present self and instead speak from the perspective who I am becoming - The Future Me.

Latest Insights

& Thoughts

Latest Insights

& Thoughts

© CORE INFORMATION コア情報

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Visionary Strategist & Creative Director | クリエイティブディレクター

I bring creativity and technology together to make things that matter…work that sparks curiosity, connects people, and makes lasting impact.

I bring creativity and technology together to make things that matter…work that sparks curiosity, connects people, and makes lasting impact.

Bringing creativity and technology together to make things that matter…work that sparks curiosity, connects people, and makes lasting impact.

Bringing creativity and technology together to make things that matter…work that sparks curiosity, connects people, and makes lasting impact.

Muj

Muj

© Featured Updates アップデート

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NEWS & UPDATES | 更新情報

NEWS & UPDATES

NEWS & UPDATES

NEWS & UPDATES

What's Happening

What's Happening

© Featured Updates アップデート

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PANELS & TALKS | イベントパネル登壇

Panels & Talks

Panels & Talks

© Featured Updates アップデート

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ARTICLES & FEATURES | 記事・特集

Articles & Features

Articles & Features

© Featured Projects プロジェクト

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TELEVISION & MOVIE & SHORT FILM | テレビ・映画プロジェクト

18+ years of dedication to craft, creativity, and leadership.

18+ years of dedication to craft, creativity, and leadership.

Episodic

Film

Episodic

Film

© Service & Offerings サービスと提供内容

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AVAILABLE OFFERS | 利用可能な特典

Services

Services

© Service & Offerings サービスと提供内容

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COLLABORATION | コラボレーション

Partnership & Collaboration

Partnership & Collaboration

FAQ.

FAQ.

FAQ.

© LETTERS TO MYSELF 自分への手紙

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LATEST INSIGHTS & REFLECTIONS | 最新の洞察と考察

Letters to Myself.

Letters to Myself.

A journey of discovery and reflections, seeking the hidden value in life.

A journey of discovery and reflections, seeking the hidden value in life.

A journey of discovery and reflections, seeking the hidden value in life.