ONE on ONE: Patrick Smith

We’re back with the second edition of One on One - our series spotlighting the people behind Square One. This time, we’re sitting down with Patrick Smith, Head of Visualization, who looks back on the moment he discovered visualization, the project that reshaped how he thinks about storytelling, and the tools and ideas that keep him inspired.

What first drew you to visualization, and what keeps you passionate about it?
I got into Visualization almost by accident while working toward becoming a Finals Animator. But as soon as I started, I was drawn to how hands-on and collaborative it was, and I quickly realized how much creative problem-solving happens at that stage. Being part of the early conversations, figuring things out, exploring ideas, and helping shape the shots before they’re fully realized. It really hooked me in.

What keeps me passionate is that it lets me feed the inner creative child who still plays with action figures - now on a much bigger scale, with experience and a team of like-minded people all around. Honestly, it feels like a dream job.

Can you share a project you’ve worked on that really shaped how you approach storytelling?
The Secret Life of Walter Mitty with Ben Stiller. At the time, I was a very young Previz Supervisor, still learning the ropes and soaking up every insight I could from the veterans around me - including my clients.

When I first moved to LA, I naively thought filmmaking was just about shooting exactly what’s written on the page, cutting it together, and calling it a day. On this film, I learned that storytelling - especially in visualization - is more like jazz: it’s about discovering the sequence as you sculpt it, not just following a formula.

This project pushed me away from a sterile, technical approach to shot creation and toward designing sequences that serve the story, the characters, and the tone. It wasn’t about counting frames or marking exact actions; it was about crafting visuals that support the emotional core of the movie. I’ll never forget sitting in Ben’s living room with him, the Production Designer, and our Previz Editor, pitching ideas and designing surreal, creative action sequences from scratch. That experience fundamentally changed how I think about visual storytelling. It taught me to prioritize the story first and let the visuals emerge organically.

What makes Square One different from other studios you’ve worked at?
I’ve always been a strong advocate for developing a start-to-finish Viz to VFX pipeline and workflow. Joining Pitch Black, it has been incredibly refreshing to hear that same philosophy echoed by leadership and to see it fully supported. Our team has been able to operate as a boutique Visualization house while also collaborating seamlessly with our VFX colleagues across the Pitch Black companies. That balance, maintaining our creative independence while supporting the larger VFX pipeline, has been really rewarding.

What’s one tool, piece of tech, or workflow you can’t live without?
Without a doubt, it’s the asset library. In an industry where speed and efficiency are everything, you’re only as strong as the depth of your library. I like to think of it like the Matrix white stockroom - you can call up anything you can imagine. Having that at my fingertips lets me set the chessboard for a scene quickly and start telling stories right away.

Favourite Director: Scorsese, Tarantino, and Nolan - portraits over my desk, not weird, just daily inspiration!

Favourite Movie: Impossible to pick. Apocalypto is one I can watch over and over right now. Raiders of the Lost Ark is a close second.

Favourite Snack at Work: Coffee and wintergreen Lifesavers: all day, every day!