Pavel Kacerle

With several years of experience as a Visual Effect Artist and Creative Film Editor in the film industry at studios such as Lucasfilm and other major VFX studios, my portfolio includes shots from Avengers: Age of Ultron, Iron Man 3, Captain America: The Winter Soldier, Jurassic World, etc.

It was an honor to be able to work for Marvel for the past 5 years with work recognition when both Iron Man 3 and Captain America: The Winter Soldier had Oscar nomination under the visual effect category.

In addition, as a huge Marvel fan, I have always been passionate about video and sound editing. I personally believe that the art of creating a perfect video is the fusion of video and sound – synchronization at its finest. Hence, I am continually developing not only on my video editing techniques but also on my audio editing skills.



Marvel’s Iron Man influenced me at age 19, when I could not decide whether to study architecture or graphics. Etched in my memory was the legendary scene in which Tony Stark tests his new suit of armor in a laboratory.


This was so inspiring that I repainted my parents’ garage green to create a green screen, and began working on my own personal armor. Unfortunately, the results were far from satisfactory and my parents were annoyed about the destruction of their garage.


I ignored advice from parents, teachers and friends, and announced that one day I was going to work in the film industry. I left high school in Pilsen with the conviction that I had to follow my heart. My parents did not take this well.





I’ll never forget my father’s words:
” What do you see behind the house? A forest. Yes, that’s right. There’s a forest and no Hollywood, so go back to school. “


Despite this, I loaned a large sum of money from a friend working in a bank, and flew off to study animation in New York. The whole situation was further complicated by the fact that I was unable to speak a single word of English, as I had only learnt German at school.


What came next were months of isolation and living on the edge, battling to save money. Days were spent taking notes during lessons I did not fully understand because of the language barrier. Nights were spent studying over the internet in order to catch up to the same level as my classmates.




When I returned from New York to the Czech Republic, I faced another problem. I had a certificate in animation but no job. So, for six months I shut myself in the cellar which I had transformed into a makeshift studio. In spring, however, when the snow melted suddenly and the cellar was flooded overnight, I lost all of my equipment.


Nevertheless, with the help of all my closest friends and relatives, I overcame these hurdles and sent my newly completed demo reel into the world.




To my great surprise, I was contacted by world renowned studio Cinesite in London and within a month I was travelling to work on my first film, John Carter of Mars (Walt Disney).


In 2013, I had almost moved to Vancouver, Canada, when I received a fabulous offer from German studio Trixter to work on Iron Man III. I accepted the offer without hesitation because Iron Man was my inspiration. The Iron Man 3  team was headed by VFX Supervisor Chris Townsend who was nominated for an Oscar in the category of visual effects.


This was followed by a stint at Double Negative in London during which I worked on Thor: The Dark World, which was the most technically challenging project I have ever worked on. I was part of the team which created Thor’s large, sprawling home city of Asgard. After returning to German studio Trixter, I worked for several weeks in collaboration with Lucasfilm on Captain America: The Winter Soldier, which was nominated for an Oscar in the category of visual effects.



In 2014, another dream came true when I became Lighting Technical Director at Lucasfilm in Singapore. Given the success of Avengers, there were high expectations for the sequel. As it turned out, Avengers: Age of Ultron was a fabulous ending to the second phase of my career, and for me personally, my greatest work achievement.


It was not long before I decided to take a 10-hour flight across the Pacific Ocean to attend the premiere of Avengers in Los Angeles.


I had been told I would not be able to walk the red carpet, as tickets to the premiere were for actors and selected VIP guests only. So, I waited in my Iron Man costume on Hollywood Boulevard for several hours until the first guests arrived.


Suddenly, my mobile rang. It was Simone Kraus, the owner of Trixter, and Chris Townsend, VFX Supervisor at Marvel, asking if I wanted to attend the premiere and walk the red carpet, as they knew I was somewhere in the vicinity. I had spent many long, hard months working on Avengers 2 so this was an incredible moment, and it is difficult to describe the feelings that overcame me. It was especially powerful given my beginnings in a cold cellar with nothing but a thin blanket, dreaming of such moments.




For the second time in my life, I decided to listen to my heart rather than to reason, and left Lucasfilm to immerse myself in that which gave me the most fulfilment.


For over five years, I was employed as a Visual Effects Artist at one of the largest VFX studios in the world. This was an amazing experience. However, I began to realise that my strongest talent was not in technically challenging rendering, but in creative design and editing video & sou


” And this is the reason behind this web page. The most important part of my career was connected to Marvel. As a fan, professional and film enthusiast, I would love to be part of the Marvel family again. However, this time I’m seeking a different position, that of Creative Director. “