VFX Supervisor John Heller and MPC VFX Supervisor Greg Astles share their adventures in bringing to life the multiple distinctive environments that anchor the acclaimed Apple TV+ sci-fi thriller.
VFX Supervisor Wojciech Zielinski talks about adding depth, breadth, and grit to the 2,596 visual effects shots produced for the second season of the hit Paramount+ sci-fi series, adapted from one of the most popular video game franchises of all time.
The visual effects studio helps realize the director’s unique vision, including the film’s climax featuring racing driver De-Portago's famous crash; the team tracked and mapped the CG Ferrari to the practical crash, dramatically launching it into the packed racetrack crowd, populated by digi-doubles.
The VFX studio animates Disney+ series’ AI-driven character’s sinister transformation from friendly to deranged, delivering more than 125 shots, while also creating Loki’s green energy blasts and a digital extension to represent a blighted, working-class section of Chicago.
VFX Supervisor Dann Tarmy breaks down his team’s extensive use of water sims, including how they tackled the huge, new challenge of replacing water in plates where the actor was shot in the water, on Netflix’s biographical sports drama of marathon swimmer Diana Nyad’s attempts to swim from Cuba to Florida.
The studio delivers 590 shots across 20 sequences, including the prehistoric opening, the final battle, and loads of creature work on a T. rex, giant octopus, snappers, and megalodon triumvirate of Apex, Haiqui, and Bob, in Jason Stathom and Warner Bros.’ ‘The Meg’ sequel.
The award-winning visual effects studio delivered 550+ shots, using its trademark mix of artistry and innovation, creating a breathtaking underwater kingdom – harnessing its ‘Fibre’ groom tool, the project team ensured Ariel and the kingdom’s other inhabitants all had ‘great hair days;’ check out their magical reel.
FuseFX VFX supervisor Jamie Barty shares his studio’s work using old-fashioned in-camera forced perspective to help tell the story of a 13-foot-tall young Black man, Cootie, as he experiences the beauty and contradictions of the real world, in Boots Riley’s new series, now streaming on Prime Video.
Watch the breakdown real showcasing how the visual effects studio delivered 500 shots on the Paramount+ series, based on the novel ‘The Blue’ by Lucy Clarke, creating a foreboding seascape for the fleeing friends who find themselves in dangerous waters with seemingly ‘no escape.’
Led by VFX Supervisor Stephane Naze, the company’s Montreal studio, alongside its London and Vancouver facilities, created Groot, Cosmo, their severed Celestial head HQ known as Knowhere, and the fight with Adam Warlock on Marvel Studios’ smash sci-fi adventure hit.
From giant red spaceships to tentacled, toothy Abilisks, the studio’s VFX and animation teams, led by VFX supervisor Guy Williams and animation supervisor Michael Cozens, pull out all the stops for the final chapter of James Gunn’s MCU trilogy.
The Australian-based visual effects studio delivers 270 shots for Peyton Reed and Marvel’s MCU Phase 5 kick-off, including augmenting and then destroying the massive Celestium fortress and visualizing Kang’s 3D multiverse map.
The Oscar-winning VFX studio, using Maya and Houdini, delivered 500 VFX shots, including the film’s finale filled with crowds of digi-doubles on the deck, the hull, and in the water around the futuristic Wakandan stealth ship.
The visual effects studio delivered 1,522 shots on the Showtime vampire/horror series, including fully CG chimps that morphed into vicious vampire chimps.
The studio harnessed Maya and Houdini to deliver 500 visual effects shots, creating backgrounds for the film’s finale aboard a futuristic Wakandan stealth ship; with Houdini’s crowd tools, CG digi-doubles based on live-action footage of 20 stunt performers translated to 100s of warriors on deck, on the hull, and in the water.
German visual effects studio's highlight reel showcases their work on the new Marvel Studios and Disney+ series, including sonic blast weapons, smashing glass, and various ‘Hard Light’ and ‘embiggen’ effects.
To create dynamic vampires and immersive battle scenes, the award-winning FX hub made improvements to the same tech it used to make Thanos in the ‘Avengers’ films.
The studio’s team shares how it created the Showtime sci-fi series’ stunning space bound shots, alien skin suit technology, and deformed faces.
Leading visual effects studio delivers 233 shots across 12 sequences, including the action-packed battle through Camden between the deviant Kro and Eternals Sersei and Sprite, turning a double decker bus into rose petals, and extensive cosmic FX work including suns, big bang explosions, and supernovas, on Marvel’s latest MCU adventure.
The leading VFX studio delivers 552 visual effects shots on Oscar-winning director Chloé Zhao’s MCU Phase 4 adventure, including the 3rd act beach fight scenes and planet-sized Celestial Tiamut.
The leading visual effects studio delivers 450 shots, including key Time Variance Authority, Gobi Desert and The Expanse sequences requiring digital characters, CG set extensions and live-action plate integration, on Marvel Studios and Disney+’s raucous new MCU outing.
Leading visual effects studio delivers 163 shots across 4 sequences, including Natasha Romanoff’s car exploding and rolling across a bridge in her fight with Taskmaster, for Marvel Studio’s latest MCU action adventure.
Overall VFX supervisor Jake Braver, with the help of ILM VFX supervisor Laurent Hugueniot, delivers 2,800 VFX shots depicting a world decimated by plague and a city ruled by supernatural evil, in the 9-part series from CBS Television Studios now streaming on Paramount+.
Leading VFX studio provides cutting-edge AI and art support that brings back to life a young football prodigy tragically killed in a 2006 stabbing, showing him 15 years later at age 30.
Led by VFX supervisor Mitch Drain, the studio delivered a wide variety of visual effects shots across six episodes, including a crazy, shapeshifting creature inspired by Google DeepDream.
