About Us

We’re Safari and Felix, two artist friends who love building worlds and sharing what we know.

Based in Eugene, Oregon, we’ve worked together for over 15 years, supporting directors, designers, VFX supervisors, and producers across virtual production, visualization, VFX, game cinematics, and interactive projects. We helped launch Lucasfilm’s first Virtual Art Department, guiding Star Wars into real-time production, a foundation the industry still builds on today. Together, we grew Happy Mushroom/Narwhal Studios from a small team into a 100+ artist studio specializing in real-time workflows, mentoring, producing, and creating ourselves. That experience opened doors to collaborations with Marvel, Warner Bros., Netflix, Apple, and more, often alongside Epic Games.

Today, we no longer run Narwhal Studios and instead focus on our passion as creative leaders who still love working hands-on. With the new wave of AI, we’re exploring real workflows that can help stories get made at lower cost - through experiments, prototypes, and production-tested solutions. As creatives and producers, we help bridge vision, technology, and production reality - helping teams streamline workflows and deliver high-end visuals with story at the center. We stay curious, keep learning, and are always open to new collaborations.

who we are

Felix Jorge

I’m a Creative Director and Producer working across virtual production, VAD, visualization, and VFX. I helped launch Lucasfilm’s first Virtual Art Department and have since led projects for Marvel, Netflix, and Disney; bridging story, design, camera, and tech ideas, to make them production-ready.

Safari Sosebee

I’m an Art Director and Principal Artist focused on VAD, VFX, previs, and game cinematics. I’ve led environment design on The Mandalorian, Ahsoka, Skeleton Crew & others; helping filmmakers use real-time tools to shape worlds before stepping on set and carry them through to final.

FAQ’s

  • We take on projects where we can lead creatively or support teams in delivery. We love complex challenges, especially those where design in pre-production helps the budget, visuals, and sets up smooth execution.

  • Yes - Virtual Production and Virtual Art Departments are still at the core of what we do. These days, we often step in earlier to help shape production pipelines, proof of concepts, and budgets, then carry that work through pre-production into execution.

  • We collaborate by joining early, listening closely, and turning ideas into clear visuals and workflows. For directors, that means exploring story and shots; for production designers, it’s translating concept art into digital worlds and buildable sets; and for producers, it’s planning pipelines and budgets that make it all doable.

  • No - we’re no longer running Narwhal Studios. Our focus now is working directly with productions, integrating into their teams and pipelines to bring experience into new collaborations, projects, and community education.

  • Yes - we collaborate with both major studios and smaller independent teams. Large productions often bring us in for Virtual Art Department leadership or pipeline support, while indie teams lean on us for design, visualization, and proofs of concept.

  • We’re based in Eugene, Oregon, but we travel for productions as needed. Most of our work blends on-site collaboration with remote support, depending on what the project requires.

  • We handle smaller projects in-house, but for larger ones we prefer working with your team - supporting production with the right artists, tools, and workflows to scale as needed.

  • We’re film and game lovers, creators at heart, and nature enthusiasts — spending our free time hiking, creating side projects, and hanging out with friends, family, and our cats.

  • Yes - we adapt Virtual Production workflows to each creative, making it easy to engage with the right tools while onboarding teams to understand limits without feeling restricted.

  • We use Unreal Engine as the hub for rendering and visualization, letting you see and critique changes live. Assets are modeled in Maya and ZBrush, with the option to render in Arnold, VRay, Octane or any offline renderer for final VFX. Everything we build can move in or out of Unreal, making it flexible for film, games, cinematics, or traditional VFX.

  • Yes — we partner with organizations, unions, and events to share our workflows and the value of virtual production. Follow us on Linkedin for upcoming sessions.

  • We think of ourselves less as vendors and more as partners - collaborating with your team to design, visualize, and problem-solve with real-time tools and emerging tech.