Art-directable simulations, large-scale crowds and production pipelines for film, episodic and high-end commercials — built to stay fast, stable and easy to revise.
Campaigns I worked on, as covered by the trade press and the brands themselves.
Every project year by year, the tools behind them and the awards — then every section is one tap away below.
Films, projects, tools and dates — each one already playing. Tap one to walk in.
← swipe for the next filmswipe right to watch →
Live from vimeo.com/francescobiancodesigner — new uploads appear here on their own.
Also: The Sandman (Netflix) · Romulus & ZeroZeroZero (Sky) · Il Primo Re · Nike So Win · Tylenol × NWSL · Xbox The Caretaker · Usyk vs Fury 2 · M&S Christmas · Squarespace · Sky F1 · PlayStation · Ray-Ban Stories · Dyson · Ferrari 488 Pista
An end-to-end VFX pipeline I designed, built and run on live jobs. One artist-facing app inside Houdini and Nuke, backed by a per-project manifest that tracks every plate, version, render and note — from ingest to final delivery.
Quality gates: every release passes a static reference check and a 470-check self-test suite before it reaches production.
Deterministic particle-trail system with layer families, on-disk presets, sibling sync and auto-built render branches.
Drag-and-drop look assignment that identifies assets, builds LOP networks and applies studio material libraries.
Mood-based state randomisation with epicentre and heatmap preview, agent publishing and texture variation.
Depth pre-scoping for tracking, an opt-in module that learns artist habits, splat-to-USD set reconstruction.
Live previews of the interfaces, rebuilt for the web with demo data. Every project, shot and layer name below is fictional.
The control centre of the whole job: 30+ modules in one window, grouped like a film is made — shots, intake, plate, finish, production, system. Every module opens as a set of guided paths that report first and act only when you confirm.
Live demo · click the sidebar · every project and shot name is fictional
Magical dust trails art-directed from a single curve. A family of layers — fine dust, foils, hero sparks — shares one animation through a leader, while each layer keeps its own size, look and Karma render stream. A guided path takes you from curve to render: animate, foils, pixie dust, forces, simulate.
Live demo · click the paths or HOME · data is fictional
Turns a finished project into a VFX breakdown, end to end. It knows what the reel needs and finds it in the project, cleans screen recordings (dead time cut, speed ramps), conforms everything to spec, builds the story on a beat-snapped timeline with build-ups and AOV grids, writes the Vimeo texts and exports Vimeo, IG 9:16, 4:5 and 1:1 at -14 LUFS — or hands Premiere a ready XML.
Live demo · click the guided steps · project and credits are fictional
Dresses a whole set in minutes. It reads the network, turns every branch into a named unit, tidies the SOPs with backdrops and builds the LOP network on its own. Then you drag materials onto the stage tree — or let it guess: project memory, context rules and an AI fallback propose a look for every mesh. Emitters become Karma geometry lights, lanterns get point lights, and the look ships as a versioned USD.
Try it · drag a sphere onto a row, or press ACCEPT GUESSES · scene is fictional
The best technical work is often invisible. Great pipelines quietly empower artists, great tools remove friction, and great simulations feel natural while remaining fully art-directable.
FLIP and thin-film fluids, Pyro, POP particles, RBD destruction, Vellum cloth, hair and grains — from R&D to final pixel.
Agent prep and LOD, behaviour and state systems, paired-clip sync, stadium population, variation shading, publishing and caches.
USD/Solaris, colour-managed ingest, render and farm management, versioning and QA. Python, PySide2/6, VEX, C++, hython, Nuke Python.
Karma XPU, MaterialX, procedural product CGI and environments, Nuke compositing, camera tracking and AI-assisted workflows.
FX, procedural CGI and custom tooling for advertising and branded content, from look exploration to final delivery.
Designed the crowd pipeline from the ground up — agents, LOD, behaviours, USD assembly, publishing and caches — plus hero FX for global sport and brand campaigns.
Isover Building Better Together — the film's main real-to-CG transition.
The Sandman E10 (Netflix), Sky F1 Season Launch, Sky Glass, PlayStation, Ray-Ban Stories, Dyson, DFS.
Romulus, ZeroZeroZero, L'uomo senza gravità, Cosmos, Il Primo Re; Ferrari, Kinder, WWF — Cannes Lions Film Craft finalist.
TV commercials and the U-Hugs animated series.
Final grade 102/110. CAD, mechanical design, materials and production systems: the engineering grounding behind how I build simulations and tools.
Visual Effects · WWF "Orso" · Environment FX
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Diploma of Merit · Houdini, Maya, Nuke
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480 hours · Autodesk Authorized Training Center
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280 hours · Autodesk Authorized Training Center
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Verified certificate
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Google Digital Garage
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Nike "Rip the Script" · Selected Works team · winner page ↗
Nike "So Win" · Selected Works VFX team
"Il primo re", dir. Matteo Rovere · VFX supervisors Francesco Grisi & Gaia Bussolati, EDI team · FX TD on the sword-fight blood FX · case study →
WWF "Orso" for Earth Hour, dir. Gabriele Muccino · credited as Environment FX · certificate ↗
Usyk vs Fury II "Reignited" · Riyadh Season / Big Time Creative Shop · FX at Selected Works
Squarespace "Dream It, Domain It" · Prettybird · FX at Selected Works
Part of Laconic's curated roster of senior artists, since 2025.
View on laconic.it ↗
The VFX houses I’ve been part of, and the agencies and production companies behind the films. Every logo links to their site.
Coverage of the campaigns I worked on — trade press, brand newsrooms and the case studies of the agencies and production companies behind them. Every article opens on the original site.