Janek Lender - Head of Previs Janek Lender - Head of Previs

Janek Lender
Head of Previs

Janek has over 12 years of experience of working within Previs, Virtual Production & Visual Effects, for high profile features.

Janek is currently working on Disney's tent pole 2019 release Artemis Fowl, producing next level Previs and VR for VFX Supervisor Charley Henley. Prior to this, Janek worked as Previs Supervisor on the Hellboy reboot, while also assembling the teams and pipeline for Postvis on Fantastic Beasts: The Crimes of Grindelwald.

Earlier in 2017, Janek Supervised a Previs sequence for Overlord, Directed by Julius Avery and produced by J.J. Abrams. And earlier still, he Supervised a few sequences for the Ruben Fleischer film; Venom, where Janek once again worked closely with VFX Supervisor Paul Franklin.

At the start of 2017, Janek was assembling talented Previs teams and overseeing the work on Lionsgate’s Robin Hood, the Otto Bathurst Directed film; as well as overseeing previs on Lionsgate’s American Assassin.

Prior to this, Janek Supervised the Previs and Techvis for the critically acclaimed Daniel Espinosa film Life [Columbia Pictures]. Working closely with the Director and the DoP, Seamus McGarvey, Janek's team created several essential Previs sequences, including the highly regarded opening sequence. Working closely with Daniel Espinosa to produce this five-and-a-half-minute shot was a hugely creative and technical challenge, requiring exceptional Previs and meticulous Techvis.

Janek has also worked closely with Tim Burke and Christian Manz on JK Rowling’s Fantastic Beasts and Where To Find Them [Warners]. Janek was given a lead role, Supervising a team of artists on the ‘Newts Case’ sequence. This included a five-minute shot, featuring the two protagonists’ journey through the magical worlds inside the case; featuring 14 different CG environments and 21 separate CG creatures. It took 4 months to plan and Previs and was shot as conceived. 

Before this, Janek once again worked closely with Tim Burke on The Legend of Tarzan [Warners] as a lead Previs Artist. This role allowed Janek to gain valuable on set experience, including working with motion control rigs such as the Milo and Cyclops, and robot arms such as the Kuka 2110 and Titan, on many varied VFX shoots. Along with Beasts and Tarzan, Janek has also been Supervising Previs & Techvis on Knights of the Round Table: King Arthur [Warners]. This included on set Previs Supervision of Ncam shoots, used to visualize green screen set extensions, and to trigger animation of CG creatures.

Initially working in animation and layout, Janek's 1st film credits came as an animator working at Framestore on the full CG feature The Tale of Despereaux, and then on the critically acclaimed Spike Jonze feature, Where the Wild Things Are. After these initial films, Janek worked on many features through animation and previs, including Fast and the Furious 6 and Guardians of the Galaxy, spanning both Post and Pre-production. This helped Janek gain experience of the VFX pipeline throughout the life of the film, working closely with the film productions, and also with the vendors.

Throughout Janek’s career, he’s worked on award winning commercials including Cadbury's Spots vs Stripes (1 Cannes Bronze Lion & 1 VES award), and Thompson's Simon The Ogre (1 Cannes Silver Lion).

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