MUJ

John Wick : Chapter 4

ジョン・ウィック：チャプター4

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.

Project Credit

Concept Art

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Return to Projects

John Wick : Chapter 4

ジョン・ウィック：チャプター4

Project Credit

Concept Art

BACK

Return to Projects

SELECTED PROJECTS

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.

John Wick : Chapter 4

John Wick : Chapter 4

© FOOTER フッター

(MJ-S99-01)

SOCIALS & CONTACT INFO |ソーシャルと連絡先情報

© FOOTER フッター

(MJ-S99-01)

SOCIALS & CONTACT INFO |ソーシャルと連絡先情報

© FOOTER フッター

(MJ-S99-01)

SOCIALS & CONTACT INFO |ソーシャルと連絡先情報