Co-creators and EPs Justin Marks and Rachel Kondo, along with their production team on FX and Hulu’s 10-episode limited series - based on James Clavell’s famous 1975 novel - always strove for authenticity in their depiction of Japan in 1600, from its ships to the city of Osaka, even the oil lamps and wicks used to light rooms.
VFX supervisor Luc-Ewen Martin-Fenouillet and his team jumped headfirst into the famous battles of Toulon and Waterloo, delivering warring armies of French and British soldiers, their encampments and tents, the smoke from their muskets and cannons, as well as the iconic moment when the infamous general’s horse gets shredded by a cannonball.
ILM, led by Simone Coco and Jeff Sutherland, delivered between 1,100-1,200 shots on the Christopher McQuarrie spy thriller, including a gunfight in an Abu Dhabi desert sandstorm, a Rome car chase, and fight atop a speeding train, and star Tom Cruise’s famed motorbike cliff jump.
VFX supervisor Simone Coco’s team took on the French general’s famous Battle of Austerlitz, stitching together three different locations, as well as creating thousands of unique, accurately outfitted CG soldiers and horses.
The visual effects studios recreated 1960s New York City, complete with city street and subway chases – and digital horse - and an ancient undersea trireme shipwreck dive that included digital doubles, digital creatures, and dry-for-wet effects, respectively, on James Mangold and Lucasfilm’s final ‘Indiana Jones’ cinematic franchise adventure.
From fairytale digital characters to monstrous transformation sequences and crowd simulations, the visual effects studio delivered 123 shots and over 50 character and environment assets for Season 2 of Prime Video’s fantasy series starring Cara Delevigne and Orlando Bloom.
CG supervisor Bryant Reif and his team created ‘The Shortcut,’ an entirely CGI transatlantic ocean liner modeled after the Queen Mary, along with digital people, oceans, docks, wakes and waves, for Season 2 of the series, now streaming on Disney+.
The visual effect studio creates the Kugelblitz, a pulsating orb that destroys everything in its path with increasing blasts of energy – the Kugel Wave - as well as a numerous ravens summoned from Sparrow Academy Number Three Fei’s body, in the hit dysfunctional superhero comedy adventure, now streaming on Netflix.
Visual effects house produces 494 shots across 10 episodes on Season 2 of the Hulu comedy, helping to visualize Kat Dennings’ wild imagination and insecurities, a Disney 2D animated fairy tale parody, and of course… the Cat Lady.
Challenged with recreating authentic visuals depicting the 1952 Helsinki Olympic Games, the studio transformed sports stadiums, filling them with virtual crowds.
Studio delivers 443 shots, including 3rd act mayhem involving a high-octane motorcycle chase, an explosive helicopter encounter, and human torpedoes dropping from San Francisco high-rises, in the highly anticipated fourth ‘The Matrix’ franchise installment.
For the director of the studio’s vibrant and lively new 7-minute film, now playing theatrically in front of ‘Raya and the Last Dragon,’ yearning for what you had in the past can prevent you from enjoying what you have in the present.
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.
German visual effects studio releases new video highlighting their fantastic environment work recreating life in Berlin, circa 1929, in the political crime drama now playing on Netflix.
VFX studio handles previs, visual effects, postvis, and graphics production for the inaugural season of Armando Iannucci’s space tourism comedy
UK-based visual effects house tackles St. Peter’s Square, the Basilica and Michelangelo’s masterpiece, the Sistine Chapel ceiling.
Overall VFX supervisor Peter Chiang talks previs, techvis, drones and Chinese sound stages on Steven DeKnight’s sequel to Guillermo del Toro’s 2013 sci-adventure romp.
