Warwick Soar
A South African creative producer, technical operator, maker, and founder whose work sits where production craft and practical systems meet.
A practical creative life
Warwick’s documented career begins in the mid-1990s, when desktop tools brought his visual, spatial, and technical interests into one medium. Since then the tools have changed repeatedly; the habit of learning the missing part and carrying work from idea to delivery has not.
That range is not a collection of unrelated jobs. It is one practice moving through independent production, agency systems, stereoscopic cinema, field media, business ownership, teaching, infrastructure, and AI-assisted work.
Career turning points
Design study, CorelDRAW, CAD, early animation, and an analogue-to-digital corporate production brought visual thinking and technical problem-solving together. When formal study ended, practical production became the school.
Independent work became an owner-operated studio spanning graphics, animation, video, presentations, web, technical support, and the commercial work needed to sustain it.
Moving into Kashan Advertising placed that multidisciplinary range inside an agency. The role added sustained client service, coding, multimedia development, web administration, and responsibility for systems and networks.
At Haptics, Warwick became a Stereoscopic/3D Technical Director and Animator. Creative production expanded into stereoscopic acquisition, projection, cinema delivery, 3D systems, and the troubleshooting required to make emerging technology dependable. View the period evidence.
The FIFA World Cup Trophy Tour and related Coca-Cola work joined technical direction, animation direction, stereoscopic production, cinema mastering, and international exhibition support. The surviving record follows the work beyond the studio into screenings and tour environments across Africa and the Middle East. See the FIFA production record.
DO IT NOW Magazine moved the work into a faster editorial environment: shooting, editing, photography, motion graphics, publishing, media operations, and technical support. It was a short but important bridge between specialist employment and renewed independence. See evidence from the period.
Pulse Works reorganised nearly two decades of experience into a new production company. Earlier employers Haptics and Kashan became clients, while new agency relationships widened the work across cameras, post-production, motion, events, and delivery systems. Explore the production foundation.
The PriFactor relationship shifted Pulse Works from isolated deliverables toward continuing responsibility for the visual-media layer of live and hybrid events: screen systems, motion, playback-ready assets, coverage, and post-production. Read the relationship.
AnimSchool and historical freelance 3D engagements renewed a long-held animation direction through structured practice. Teaching Camera Studies at Oakfields College then required decades of experience to be selected, explained, assessed, and made useful to somebody else.
OneNode gave a distinct commercial form to the infrastructure, support, web, security, and systems work present since Pulse Graphics. It is a continuation made legible, not a sudden change of field. View the service platform.
As co-founder of Legacy Boards, Warwick brought interview-led filmmaking, technical production, and patient visual storytelling into a company preserving the memories of South African rugby figures. The role formalised something present throughout the career: using production systems to protect stories that matter. Explore Legacy Boards.
Projects as evidence
Individual films, photographs, technical builds, and event systems belong inside this career history as evidence of changing capability and responsibility.
Browse the project evidenceFounder and operator
Explore the businesses Warwick has built, or start with the work itself.