Meet the Yardeners – the passionate team at The Yard, who strive every day to nurture the seeds of creativity, transforming them into striking visual effects, fruitful collaborations, and unforgettable stories.
This week, we’re excited to introduce Hadrien Palanca, our Lead FX Artist. With over a decade in the VFX industry, he’s worked as a CG artist, FX artist, and FX lead — and even won an award for his FX on The Rings of Power – Season 2. In this interview, he shares his journey into effects simulations and his experience on some of The Yard’s most FX-intensive projects.
Hello Hadrien ! Could you please explain your role at The Yard ?
I’m currently a Lead FX Artist at The Yard. My main responsibilities include building FX setups and running simulations for shots, both for my own tasks and for other artists on the team.
I also provide support by creating tools, tutorials, and offering technical or artistic guidance whenever needed.
What do you find great about your department ?
There’s a strong sense of support and collaboration within our FX department. Every morning, we have a quick team call to discuss the challenges we’re facing. Each person brings their own perspective on how to tackle specific effects, which is always inspiring and enriching. With everyone’s different strengths and weaknesses, being able to rely on each other truly makes a difference.
Of course, not every conversation is strictly work-related—we often chat about life, hobbies, or swap jokes, which makes for a really great and fun atmosphere.
And naturally, we also get to destroy things…ahah !
What brought you to specialize in FX ?
Before joining The Yard, I primarily worked on commercial projects, which often meant fast turnarounds and wearing many hats to get the job done. In 2013, I co-founded a communications company with two friends, taking the reins on nearly every aspect of our projects.
But over time, I realized what truly excited me was FX. Running a company was rewarding but extremely time-consuming, and I couldn’t focus as much as I wanted on the creative side. That’s when I dedicded to take the leap into freelancing.
I started with small projects for direct clients and gradually moved on to working with agencies. Little by little, I honed my craft, specializing in FX work for commercials, films and series. It’s been a journey of discovery, skill-building, and ultimately finding the work that I love most.
Do you have a favorite FX simulation to work with? Is there an FX simulation that poses more challenges than the others?
Destruction is definitely my favorite—there’s something deeply satisfying about breaking things in a controlled, cinematic way. I love diving into RBDs, particles, smoke…it’s not just about making things physically plausible; it’s about shaping the shot to serve a specific artistic vision. The FX need to feel real, readable, and visually striking all at once. Balancing physics with storytelling is what makes every shot a creative thrill.
Every type of simulation has its hurdles, though. One of the toughest I’ve tackled recently was for Étoile: a massive ocean simulation with waves, splashes, boats, fishnets — and over 3,000 frames in a single close-up shot. Every detail mattered, every frame counted. It was intense, but seeing it come to life was unforgettable.
Since you’ve joined the Yard, you’ve worked on different projects. Could you tell us a bit more about the experience you’ve gained so far ?
I joined The Yard in 2021 — if I remember correctly! Since then, I’ve worked on numerous productions with a wide range of FX needs. There are too many to list, but here are a few that really stand out:
On The Rings of Power – Season 2, I worked on a variety of effects such as destruction, crowd simulation, and smoke.
And that’s just a small selection! I’ve been lucky to tackle so many exciting challenges and push the boundaries of FX work.
Is there a particular project that stands out to you as the most memorable? If so, why?
The Rings of Power is definitely the most memorable project, mainly because of its sheer scope — the scale of the shots, the complexity of the tasks, and the quality of the final result were all incredible.
That said, one of the projects I personally enjoyed the most was Second Tour, a smaller French production. What made it special was the complete trust the client placed in us and the creative freedom we were given. There was no unnecessary pressure—we had a schedule, and as long as we stuck to it, we could focus on making things look amazing. It was a real pleasure to work on.
Earlier this year, you’ve been awarded a Genie Award for Best FX Simulations on « The Rings of Power-Season 2« . Was it your first industry prize ? What does this award represent to you ?
Yes and no — while it was my first award for a VFX project, I’ve been recognized before for commercials and documentary work.
Winning the Genie Award was a huge honor, especially knowing it was judged by fellow professionals in the industry. FX is never a solo effort, and I was fortunate to work alongside an incredible team. This award isn’t just mine—it’s a celebration of the creativity, dedication, and collaboration we all brought to the project.
According to you, what are the main challenges in FX?
Creating a setup to meet a specific brief can sometimes be straightforward but things get complicated when the creative direction changes, especially late in the process. The real challenge lies in building setups that are flexible and can adapt to evolving feedback. Anticipating what the client might request after seeing early versions—sometimes just a few days before final delivery—is a crucial part of the job, and one of the trickiest aspects to navigate.
Any piece of advice you’d share with anyone considering a career in FX?
I’d offer two key pieces of advice:
1. Be proactive and keep learning. Aim to bring value to the team beyond simply completing your assigned tasks. If you finish early, use that time to develop tools, support teammates, or explore ways to improve setups and workflows. VFX is a business, and studios will always favor artists who contribute more than the bare minimum.
2. Don’t over-specialize, especially with AI entering the industry. Being able to tackle a wide range of FX types — water, fire, destruction, even crowd or CFX — gives you more flexibility between projects. This versatility has helped me stay consistently busy, even during slower periods.