Creative Technologist
Director of Engineering, Halon Entertainment
About
I'm Rogerio Gasi. I lead engineering at Halon Entertainment, a studio that helps filmmakers plan and visualize their stories through previs and virtual production. I started out making mobile games in Brazil, spent five years at EA, and eventually found my way to Hollywood. I've been part of 50+ film and TV projects and around 100 game titles.
I love the intersection of technology and storytelling, and right now I'm working at the intersection of AI and creative production. The work I'm most excited about hasn't been made yet.
Selected Credits
Mission: Impossible - The Final Reckoning
Visual Effects Engineering Director: Halon Entertainment
2025The Mandalorian
Visual Effects Head of R&D: Halon Entertainment
2019The Batman
Visual Effects Engineering Director: Halon Entertainment
2022Kingdom of the Planet of the Apes
Visual Effects Engineering Director: Halon Entertainment
2024Ballerina
Visual Effects Engineering Director: Halon Entertainment
2025MSG Sphere
Real-time Fisheye Camera: Halon Entertainment
2019All Film & TV Credits
History
Mobile Games (2005 to 2013)
Started porting mobile games at LocZ in São Paulo, working on titles like Castlevania, Dragon Quest, and Samurai Shodown on devices with 64KB of RAM. Joined EA when they opened the Brazil studio and spent 5 years there, rising from Software Engineer to Development Manager. Was part of the team that transitioned the studio from 2D (J2ME, BREW) to 3D (C++, OpenGL ES). Shipped FIFA, Real Racing 2, Need for Speed, The Sims, Tetris, and dozens more. Managed development and QA teams across offices in Montreal, Romania, Hyderabad, and Brazil.
VR, Motion Capture, and Games (2013 to 2018)
Worked on real-time motion capture at Hero Live in São Paulo, building systems that streamed XSens body capture and Faceshift face capture over UDP to remote Unreal Engine clients. Actors could perform from another country. Led mobile engineering at Gazeus Games, shipping 20 games in one year. Started consulting for Halon Entertainment remotely from Brazil, building VRVCam (a UE4 plugin for directors to shoot scenes inside Unreal) and optimizing VR performance (90-120 FPS on DK2).
VFX and AI at Halon (2019 to Present)
Joined Halon full-time as Director of R&D, then became Director of Engineering. Built the studio's production pipeline with AYON, Perforce, Maya, and Unreal Engine. Set up virtual production stages with LED volumes, NDisplay, and Vicon motion capture. Now focused on AI and 3D generation: exploring how machine learning, Gaussian splatting, neural rendering, and AI agents can be brought into creative production workflows.