I build low-fidelity grey-models of venues ([e.g., Sphere, Las Vegas / Accor Arena, Paris]) before the rigging points are even confirmed. I use [Insert Software: e.g., Vectorworks / Depence / L8] to simulate camera angles for broadcast and line-of-sight for the live audience.
I am a . That means I do not just see pixels; I see parallax, latency, pixel density, and the emotional curve of a lighting cue. My portfolio is not a collection of pretty pictures—it is a record of controlled chaos turned into coherent visual poetry. visualiser portfolio
I reject pre-rendered loops. I build in [Insert Software: e.g., Unreal Engine 5 / Notch / Resolume] . Why? Because live events breathe. If the DJ speeds up the BPM, my visuals must speed up. If the CEO pauses for applause, the ambient particle field must settle. III. Case Studies in Pixels Instead of simply listing thumbnails, here is a deep dive into three distinct realities I have helped construct. Case Study A: The Architectural Dome (Immersive Installation) Client: [Brand Name] Venue: [Name of Museum/Festival] Role: Lead Visualiser & System Designer I build low-fidelity grey-models of venues ([e
I designed a generative particle system in TouchDesigner that treated the dome’s geometry as a gravity well. I created a visualiser map that unwrapped the 3D surface into a 2D canvas for the content team, showing them exactly where the seams would hide and where the zenith would stretch. That means I do not just see pixels;