Visualization Lead | Cinematic Designer | AI Integration & Real-Time Pipelines
HUAN PHAN
The reel
Previs, layout, cinematic design, and real-time visualization for Marvel Studios, Blizzard Entertainment, Walt Disney Imagineering, and Sony Pictures. This reel is a fast cut through that work.
I'm also building AI into that pipeline, running Unreal Engine alongside ComfyUI and generative tools to move faster through previs, layout, and look development without losing the craft fundamentals that make a shot work.
What I offer
Six ways I work.
Real-Time Visualization
I build real-time visualization pipelines in Unreal Engine, turning scripts and concept art into camera-ready sequences that directors and VFX supervisors can review and revise before a shot is ever filmed. I work directly with production designers, cinematographers, and VFX supervisors to problem-solve blocking, lensing, and lighting in engine, so creative decisions get locked in early instead of costing time and money on set.
Virtual Production
I plan camera, blocking, and staging for virtual production, from LED volume content and in-camera VFX setups through on-set execution, keeping creative intent intact from previs to final delivery. I work closely with directors, DPs, and stage teams to validate shots in engine ahead of time, so what's captured on set matches what was designed, with fewer surprises and less time lost on the day.
Layout Supervisor
I was a Layout Supervisor at Marvel Animation Studios, translating storyboards into staged 3D scenes for animated series and features, setting camera, blocking, and pacing that carried each director's intent into animation and gave every department downstream a clear cinematic foundation to build on.
Cinematic Designer
I was a Cinematic Designer at Blizzard Entertainment, directing in-game cinematics and trailers for World of Warcraft from camera blocking and story beats through final animation polish, partnering with narrative, art, and engineering teams to turn key story moments into cinematic sequences that land both emotionally and technically.
Unreal & Previs Professor
I teach Unreal Engine and previs animation at Santa Monica College, training the next generation of artists in both classical film language and real-time production. My courses cover camera and blocking fundamentals, real-time lighting and rendering, and the production pipelines studios actually use, giving students a working bridge between traditional animation training and the real-time tools reshaping the industry.
AI-Enhanced Workflow
I integrate AI tools into traditional visualization pipelines, using Unreal Engine alongside ComfyUI to accelerate previs, layout, and look development while keeping the craft instincts that make a shot actually work. In Nuke, I composite real plate footage with AI-generated backgrounds, blending live-action and synthetic elements into a single, cohesive shot.
Selected productions
Movies & shows I've worked on.
A working list of productions I've contributed to across previs, layout, cinematic design, and visualization.
Hi, I'm Huan. My job comes down to one thing: take what a director sees in their head and turn it into a shot the rest of the crew can actually build. The logos change (Marvel, Blizzard, Disney Imagineering, Sony Pictures), but that part never does.
Most recently I was a Visualization Lead at Sony Pictures, working shoulder to shoulder with directors and VFX supervisors from previs all the way through delivery. Before that I supervised previs and layout at Marvel on a run of MCU projects, worked as a Cinematic Designer at Blizzard on World of Warcraft, and designed real-time projected effects for Imagineering's Guardians of the Galaxy: Cosmic Rewind. I still get a kick out of the fact that I get paid to do this.
Lately I've been pulling AI into the pipeline, using Unreal Engine next to ComfyUI and generative tools to move faster through previs, layout, and look dev. I'm genuinely excited about it, but I'm not precious about the tools. A shot either works or it doesn't, and knowing why is still the whole job.
I studied Digital Communication and Media at Otis College of Art and Design, and these days I also teach Unreal and previs animation at Santa Monica College. Watching a student finally nail a camera move is one of my favorite parts of the week.
Outside of work I'm a family man. Weekends are for my wife and kids, usually some mix of park trips, a movie on the couch, and me trying to explain why the camera in that scene is doing something cool while nobody asks. That's the good stuff.
If you're working on something in visualization, games, movies, virtual production, or AI-integrated pipelines, I'd love to hear about it. Say hi.