VFX Producer Brian Shows and Post Producer David Frew helped Framestore, MPC, Outpost VFX and beloFX deliver 2,600 visual effects shots across 8 episodes of the Prime Video show, conjuring up a host of magical visuals depicting different aspects – earth, water, fire, air, and spirit - of the One Power.
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Produced in partnership with ILM and narrated by Morgan Freeman, Netflix’s new documentary series uses the latest technology and science to resurrect creatures long extinct as it follows life’s epic battle to conquer and survive on planet earth.
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.
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 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.
The studio delivers 235 shots for the fifth installment in the ‘Indiana Jones’ franchise, including a frantic tuk-tuk chase sequence through the streets of Tangiers, Morocco.
Production VFX supervisor Andrew Jackson gets quite ‘particular’ discussing the visual effects in Christopher Nolan’s hit biopic about J. Robert Oppenheimer, his life and work leading The Manhattan Project’s development of the world’s first nuclear bomb.
VFX supervisor Johnny Han, working with Scanline VFX, EDI Effetti Digitali Italiani, Mackevision, MR. X, BUF, and Jellyfish Pictures, produced 2,000 shots for Season 1A and 2,500 for Season 1B – including the ‘Shockdog’ - on the Emmy nominated HBO series, set in an 1896 London rocked by a supernatural event that gives certain people – mostly women – abnormal abilities.
Production VFX supervisor Mohen Leo and Production VFX producer T.J. Falls picked up where they left off on Gareth Edward’s 2016 ‘Rogue One,’ helping deliver a whopping 3,843 visual effects shots, including the daring oceanic planet Narkina V prison escape, the Eye of Aldhani meteor shower, and the Fondor Haulcraft’s encounters with Fury-class Imperial interceptors, on the inaugural season of Lucasfilm and Disney+’s hit prequel series – nominated for an Outstanding Visual Effects Emmy.
Production VFX supervisor Grady Cofer and Co-Production Animation Supervisor Hal Hickel discuss how the most recent season of Lucasfilm and Disney+’s hit series – nominated for an Outstanding Visual Effects Emmy - took advantage of new digital tools and processes to better plan and capture more realistic acting performances in-camera, as well as animate their integration with CG characters and sequences.
The production VFX supervisor on Disney’s horror-comedy marshalled the work of ILM, DNEG, and OPSIS, delivering nearly 2,000 shots including a range of ghosts and otherworldly action, all designed to be scary without sending little kids crying into theater lobbies.
After eight years, five seasons and a concluding feature film, VFX supervisor Richard Frazer laughs at the notion he’s earned a PhD in 10th century British history; as the sole visual effects vendor for the entire run, BlueBolt handled historically accurate CG characters, massive armies, and gory combat on the Netflix series and feature.
Led by VFX supervisor Wes Froud and VFX producer Scott Shapiro, lead vendor DNEG, along with Digital Domain, Distillery VFX, Host VFX, Luma Pictures, Outpost VFX, Perception, RISE, Territory Studios, Visual Creatures, and Zoic Studios, delivered a wide selection of 1,796 VFX shots, ranging from UI motion graphics to an explosive train crash, on the famed MCU directing duo’s new spy thriller series, now streaming on Prime Video.
Collaborators Jonathan Rothbart, Janelle Croshaw Ralla, and Michael Ralla talk incendiary shotgun shells, a blind assassin’s eyeballs, a CG dog, and hundreds of ring finger removals, on Chad Stahelski and Lionsgate’s shoot ‘em up in volume action-adventure.
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.
Executive Producer Mike Gunton and Showrunner Tim Walker discuss how they went back in time again, using VFX from MPC, to showcase the lives of new dinosaurs, new habitats, and new scientific discoveries, taking viewers around the world on an epic adventure, now streaming on Apple TV+.
The VFX supervisor, born in China before coming to the U.S. at age 9, shares her work overseeing 1100 visual effects shots on the Disney+ series that included the trickster God Monkey King’s transformation from falcon to tiger to fish, various gravity-defying flying characters, digital doubles, and an ambitious waterfall setting for a dangerous cliff jump.
Noted ‘Lord of the Rings’ illustrator John Howe, Runway co-founder and CEO Cristóbal Valenzuela, and DeepAI founder Kevin Baragona weigh in on ethical and legal challenges facing the creation and commercial use of AI-generated imagery.
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.