8) Let Me In (Overture Films, Oct. 1)
Matt Reeves (Cloverfield) directs the American version of the acclaimed Swedish horror film about a 12-year-old boy that develops a friendship with a vampire child in New Mexico in the early '80s. The film promises to have the same beats as the original but will be a little scarier. According to Bradley Parker, the overall visual effects supervisor, "We worked on roughly 164 shots covering a wide range of techniques and difficulty. There's an impressive car crash assembled as one seamless shot that I am particularly proud of. We also created a number of great-looking CG stunt doubles, CG fire, an acid eroded face, digital vampire makeup, animated CG prosthetic work, digital set extensions, underwater compositing and CG snow." Method, Dive, Ollin and XY &Z all worked on the film.

7) Yogi Bear (Warner Bros., Dec. 17)
Eric Brevig (Journey to the Center of the Earth) directs the CG/live-action version of the famous Hanna-Barbera cartoon series in -- you guessed it: stereoscopic 3-D. Rhythm & Hues (under the supervision of Betsy Paterson) tackles Yogi (voiced by Dan Aykroyd) and Boo-Boo (voiced by Justin Timberlake) in their misadventures with a documentary filmmaker in Jellystone Park. In fact, R&H is co-producing for the first time, leveraging its long-standing relationship with Warner Bros. They worked on several hundred shots, featuring its extensive animation, lighting and fur work for Yogi and his pal Boo-Boo. R&H did matte paintings and vfx work (water, fire) and props animation. And the 3-D was fully integrated from the start of production.

6) Black Swan (Fox Searchlight, Dec. 1)
It's not The Fountain, but it's Darren Aronofsky, and, according to Look Effects, the vfx are crucial to the storytelling in this psychological thriller set against the world of ballet starring Mila Kunis and Natalie Portman: Look used a combination of 2D and 3D digital effects to portray Portman's evolution throughout the film. VFX Supervisor Dan Schrecker and the artists at Look produced approximately 220 shots.

Highlights include the film's dream sequence prologue, 2D image animations to illustrate the lead's mental state and show her evolution. The visual effects team worked very closely with the prosthetics crew to enhance the practical effects, while designing and building their own solutions. The narrative demanded a good deal of head and face replacement, which was accomplished through 2D and 3D means.