Donald P. Bellisario’s revival of the 1990s sci-fi cult classic tapped the global VFX house to create complex digital environments with integrated 2D and 3D assets; check out the VFX breakdown reel then catch Season 1 now airing on NBC and streaming on Peacock.
For director Joseph Kosinski and Netflix’s crime drama, VFX supervisor Ryan Tudhope managed a group of studios that produced 900 visual effects shots, including the prison facility, UI graphics and monitor replacements, CG environmental assets, and various set extensions.
Led by VFX Supervisor Tommy Tran, the studio produced massively complex visuals on 1,827 shots in Season 3 of Seth MacFarlane and Hulu’s sci-fi comedy, including bigger and more complex planets, space battles, and an impressive, completely overhauled USS Orville.
The suite of production and post-production tools fuses live-action with CG elements to create highly stylized worlds; tech and media exec Greg Mandel joins Board of Advisors as business strategy advisor.
Studio creates both CG people and environments to accurately portray NYC in the 1950s and 1970s for Paramount+’s 10-part series about the creation of Francis Ford Coppola’s 1972 classic, ‘The Godfather.’
The VFX studio created highly realistic, easily controllable CG models and worked extensively with LEDs to bring the city’s subway tunnels to life on Netflix’s Emmy Award-winning series starring Natasha Lyonne.
The VFX studio was instrumental in balancing realism with fantastical elements in the IMDb TV teen spy series’ second season; check out the breakdown reel.
Leading visual effects studio delivered 89 digital environments, 87 gameplay shots, and 347 VFX shots on Shawn Levy’s comedy adventure starring Ryan Reynolds as a bank teller who discovers he’s a background player in an open-world video game.
Visual effects supervisor Charlie Tait explains the studio’s death-defying Episode 1 aerial chase and mid-air fight sequences in Marvel Studios and Disney+’s action-packed six-episode MCU outing.
Led by VFX supervisor Bryan Hirota, studio delivers 1,000 visual effects shots across 22 sequences, from Steppenwolf’s complete redo to the Flash’s epic time reversal.
Leading VFX studio delivers 430 shots on HBO Max’s long-awaited DC feature redo, picking up where they left off in 2017 on Cyborg, Wonder Woman, and the Flash sequences.
The Advanced Imaging Society’s 11th annual awards honored technical achievements currently accelerating the entertainment industry; 12 distinguished technical achievements were recognized for cutting-edge technology having ‘Impact through Innovation.’
German visual effects studio's new highlight reel showcases their work on funky ‘60s planet, menacing robots, and White Room prison cell from hit HBO horror fantasy series.
Axis Studios creates an entire historically accurate CG Elizabethan London, delivering 100 shots for 10 episodes over a span of 18 months.
VFX house One of Us worked through the COVID-19 pandemic to deliver 350 shots on Netflix’s wildly popular period romance drama set in an alternate Regency-era universe.
Overall VFX supervisor John Mangia and VFX producer Arissa Blasingame’s team delivered over 750 shots, including the haunting chess piece visions, CG vehicles, set extensions and recreations of exotic Mexico, Moscow and Las Vegas locales for Netflix’s hit limited series.
VFX supervisor Goran Backman details the studio’s creature and environment work on Jon Favreau, Lucasfilm and Disney+’s VES and Emmy Award-winning hit space-adventure series.
UK visual effects studio tackles a choreographed radium dance, WWI battlefield, Hiroshima bombing, and Chernobyl disaster in Marjane Satrapi’s captivating biographical drama.
CG supervisor Dan Smiczek discusses the studio’s work creating the iconic ship of ‘assimilation’ for the CBS All Access hit sci-fi series starring Sir Patrick Stewart.
German visual effects studio shares new highlight reel showcasing nearly 200 shots spread over three episodes of the hit futuristic HBO series.
VFX studio handles previs, visual effects, postvis, and graphics production for the inaugural season of Armando Iannucci’s space tourism comedy
Led by VFX supervisors Johnny Gibson and Edward Hawkins, the studio provided a bucket-full of digital blood and gore, wounds, muzzle flashes, deadly arrows and a digital jet on the Jason Blum and Damon Lindelof produced action-thriller.
Led by VFX supervisor Max Riess, teams from Frankfurt, Stuttgart, Toronto and Los Angeles delivered more than 268 final shots over a 22-month period.
Studio crafts fully digital helicopter as it battles the Rev-9 Terminator and a stolen C-5 cargo plane in Tim Miller’s sci-fi action-adventure.
