Shirogumi VFX supervisor Kiyoko Shibuya helped deliver 620 shots, including the giant beast crushing the heavy cruiser Takao, all on a shoestring budget, in Takashi Yamazaki’s hit sci-fi thriller, nominated for a best VFX Oscar at this year’s Academy Awards.
VFX supervisor Sean Konrad helped deliver over 3,000 ‘giant’ shots on the highly acclaimed Apple TV+ series with the ‘monstrously’ talented artists on his in-house team and at Rising Sun Pictures, Rodeo FX, Framestore, FuseFX, Outpost VFX, Crafty Apes, Wētā FX, MPC, Storm Studios, Vitality VFX, BOT VFX, Mr. Wolf, Scarab Digital, The Third Floor, Proof, and MPC Visualization.
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.
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.
For Simon Hughes and his Union VFX team, Yorgos Langthimos’ dark comedy, a stunningly designed visual maelstrom, required something completely different from a typical VFX project, including odd, surgically created hybrid animals using as much actual footage as possible, integration of plates shot with 3 different film stocks, 11 enormous wrap-around LED screens, 50s style painted backdrops, and some really crazy colored skies.
The director and his VFX Supervisor, Jay Cooper, explain how they completely reversed the standard production process for his sci-fi epic, employing spontaneous live-action shoots that looked cool, not controlled, with 3D environments, digital matte paintings, and many other elements on the 1,600 visual effects shots designed afterwards, not before.
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.
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.
