An unlikely trio uncovers a deadly mystery involving a series of strange patterns and unbelievable events, with Zoic providing a different effect every week.

"We developed new techniques that we are continuing to use in the show, which is basically using 2D tracking data to refine our 3D performance tracking," Orloff continues. "The show has a lot of things that are organic and happen to people so it ends up being on people's face and bodies. The pilot sequence helped us get really good workflows for using quick turnaround track of 2D integrating with 3D material. Fringe is interesting because it's really a different effect every week, which is really challenging to do well in episodic. You aren't seeing the same effect over and over. It's a real water cooler style show and the visual effects are playing a big story component and making it real for the viewers. The function of the visual effects in the show is to take the viewer on a journey of discovery with the characters. It's tied into story and the action and the drama of the show. It's a good thing for us and it's what Zoic is known for -- its effects design. You have to stay innovative and how to do these things fast but it's very gratifying to work on so much different stuff. As with all the shows we do, from CSI to Eli Stone, we have a lot of tricks to bear. With Fringe, all of them are used. There not one thing we aren't doing."

Tara Bennett is an East Coast-based writer whose articles have appeared in publications such as SCI FI Magazine, SFX and Lost Magazine. She is the author of the books 300: The Art of the Film and 24: The Official Companion Guide: Seasons 1-6.