%%Hi. I'm a former VFX artist from Belgium, I moved to France's South-West when I was 14 with my family. After graduating high-school in a politic-economics cursus, I enrolled in a preparation year on Applied-Arts (Product, Graphic, Environment and Fashion designs) followed by a formation on game design and 3D animation that I left after a year and half to introduce myself to 3D and VFX. After 6 months, following my parents advice, I joined the third eyar of a 5-years cursus specialized on VFX in the South-East of France. During that formation, I specialized in FX and learned more about the entire pipeline of VFX and Animation films. The last year was dedicated to production and directing short-films in small teams, I worked full-time on [Relativity](https://www.youtube.com/watch?v=7R4GkEZwxw4) and contributed on some effects of [Le Souffleur de Rêves](https://www.youtube.com/watch?v=h4OY5JT8nVc). This work allowed me to then work for two years at DNEG Montreal as an FX TD, on Sonic 2, Masters of the Air and Dune Part 2, until the 2023 Hollywood strikes and the layoffs that followed sent me back to Europe. %% Hi! I'm a former VFX artist and the person behind MORA. My background spans a few different directions before converging on VFX. I studied applied arts, briefly explored game design and 3D animation, then committed to a specialized VFX program where I focused on FX and production pipelines. The final year centered on directing and producing short films in small teams, which gave me a compressed but complete view of what a production actually demands. That led to two years at DNEG Montreal as an FX TD where I got to work on Sonic the Hedgehog 2, Masters of the Air, and Dune: Part Two until the 2023 SAGAFRA strikes and the wave of layoffs that followed brought that chapter to a close. Part of what drew me to this project is the chance to oversee an entire production rather than a narrow slice of it. FX work, or any department, at a large studio means going very deep into a very specific things, which has its own satisfaction, but I wanted to experience the full creative arc once again. MORA is the context I built for that. The other pull is harder to separate from where we are right now. The political retreat from climate commitments, the worsening conditions already visible around the world, the widening gap between what the data says and what institutions are willing to act on; all of that sits underneath this project. Making something with it felt more useful than just watching it unfold. My most recent background is in Houdini and FX simulation, and I plan to bring that back into the pipeline alongside Blender, Unreal Engine 5, MetaHuman, DaVinci Resolve, and possibly Nuke. Those tools will come in progressively. The starting focus is AI: it's the newest part of this pipeline, the one I know least, and the one that creates the most room for a small team to operate efficiently, spending less time on repetitive or mechanical tasks and more on what actually requires a human in the loop. Ben --- [email protected]