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 Greg Behrens discusses the production of otherworldly visuals on Kelly Marcel and Apple TV+’s supernatural thriller about a book dealer searching for his missing wife and son in the Big Apple.
VFX supervisor Alex Wang talks the Infected, Bloaters, massive Bloaters, a giraffe, and a crashing airliner as he breaks down the production of 3,000 visual effects shots created by DNEG, Wētā FX, Distillery VFX, Zero VFX, Important Looking Pirates, beloFX, Storm Studios, Wylie Co., RVX, Assembly, Crafty Apes, UPP, RISE, Framestore, Digital Domain and MAS on HBO’s critically acclaimed and wildly popular series.
The VFX supervisor on Greta Gerwig’s hit film sheds light on the various ways the famed Mattel doll and her world came to life across 1,300 shots involving various digital filmmaking tools, including virtual production, previs, postvis, CG set augmentation, and more than 20 fully CG shots, produced by Framestore, Chicken Bone FX, FuseFX, UPP, and Lola VFX.
For Production VFX Supervisor David Van Dyke, Season 2 of Taika Waititi’s hit Max series saw fewer visual effects shots but more efficient virtual production that included use of a library of panoramic background location and sky shots as well as a re-configured LED Volume, known as the ‘J.’
The VFX studio contributed 1,800 shots for Netflix India’s ‘Rana Naidu’ series, based on the popular American Showtime drama series; work included action clean-ups, greenscreen sequences, and CG elements such as the creation of a realistic snake that appears during a drug-induced hallucination.
Sam Koji Hale, Ara Santos, and Ben Giroux dig deep into the production of a special episode from the new season involving more than 20 different animation techniques including stop-motion, pixelation, Claymation, cut-outs and digital puppetry - a veritable ‘dream style’ amalgam that provides an incredible visual feast for the eyes; Season 2 premieres today on Paramount+.
Led by VFX supervisor Axel Bonami, the studio’s team delivers 500 shots on Jonathan Goldstein and John Francis’ action adventure, including a multi-creature-transformation castle escape sequence, the cavernous, lava-filled Underdark, Themberchaud the dragon, a host of magical spells and one really cool portal.
The veteran VFX supervisor delivered between 500-800 shots per episode on the 6-episode Peacock series, depicting Bill Nye getting killed in the most epic global disasters imaginable, including large-scale asteroid strikes, volcanic eruptions, earthquakes, tsunamis, floods… that mixed visual effects with actual footage to show what would happen and how we can either mitigate it, stop it, or survive it.
Co-Visual Effects Supervisor Raymond Chen, working with DNEG, Pixomondo, Stereo D, and BOT VFX, delivers dragons and unicorns, as well as forcefields, capes – yes, capes – and various magical effects, on Warner Bros. and David Sandberg’s ‘Shazam!’ sequel.
Visual Effects Supervisor Bruce Jones, working with DNEG, Pixomondo, RISE, Scanline VFX, and Wētā FX, delivers a slew of mythical monsters, including dragons, cyclops, manticores, minotaurs, and harpies, on Warner Bros. and David Sandberg’s ‘Shazam!’ sequel.
Visual effects supervisor John Moffatt reveals some of ‘The Witcher’ prequel’s magical sequences, roughly 1,000 shots that include portals, creatures, and the startling human transformation into the original monster hunting Witcher prototype.
The visual effects studio's team, led by VFX supervisor João Sita and animation supervisor Fernando Herrera, delivered 200 shots that featured a bed that walks and floats, an animated stuffie named Pig, and a massive flying Canadian goose, on the fantasy adventure now streaming on Netflix.
Leading visual effects studio delivers 420 shots, including a massive, sinister 3D snake, on Florian Sigl’s feature film adaptation of Wolfgang Mozart’s 232-year-old opera, which hits U.S. theaters today, March 10, courtesy of Shout! Factory.
The veteran visual effects and performance-capture expert, and current M&E director at AMD, talks about exciting, seismic changes taking place in visual effects and virtual production.
Production Visual Effects Supervisor Frank Petzold talks about using in-camera effects wherever possible, eschewing loud and flashy CG sequences for more precise, realistic action centered around what’s captured on set, in Edward Berger’s harrowing and haunting Oscar-nominated war saga, now in theaters and streaming on Netflix.
Visual effects supervisor Stephen James talks crashes, humor, LED walls, and layers of destruction as he takes us inside the studio’s wild and multi-faceted work on Sony Pictures’ comedy thriller, now playing in theaters.
The London-based studio shares its VFX breakdown reel showcasing how they created a high-octane cupcake delivery truck pursuit through the Alps for Marvel and Disney+’s latest MCU series.
VFX supervisor John Gajdecki and VFX producer Matthew Gore, working with more than a dozen vendors as well as an inhouse team of 44 artists, increased the Season 1 shot count by 25%, across a wide array of complex visuals, in The CW show’s Season 2 production.
Director Hisko Hulsing talks about the production of Prime Video’s acclaimed animated series, from the many supervisory hats he wears to the sublimity of the writing.
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.
Company continues its push into virtual film production services with investment in new state-of-the-art Montreal facility.
Leading visual effects studio delivered nearly 400 shots, adding CG elements to everything from icy lakes to forests and high-speed car chases, in MGM’s latest action-packed James Bond spy thriller.
The VFX studio delivers 237 shots, including the adorable, faceless, and furry four-winged Dijiang sidekick, in Marvel Studios’ first Asian super hero film.
Beau Bridges and his daughter Emily, working with David Shapiro and Semkhor Productions, turn Richard Boleslavsky’s seminal book on acting into a film - complete with a recreated 1930s New York - and teaching materials used to show students how to produce high quality, low-cost visual effects.
