The leading visual effects and animation company delivered 510 shots on 15 sequences for Rian Johnson and Netflix’s ‘Knives Out’ sequel, including the sprawling Greek island villa and titular signature glass monolith.
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 creates 334 shots for Season 2 of Brian Young and Netflix’s coming-of-age fantasy adventure about teenage fairies learning to master their powers while navigating love, rivalries, and a flock of bug-like Scrapers at their magical boarding school.
The leading visual effects company delivers 328 shots from its Montreal facility, with another 233 from its London facility, including heavy magical element simulations, a swarm of bees transforming into a human, and the wish fish girl, on the Paul Feig fantasy adventure now streaming on Netflix.
Visual effects supervisor Chris Browne has big plans for his sci-fi project originally conceived as a feature film and TV series – he created 200 digitally augmented shots with photoreal robots, virtual environments, and swarming drone bots for the short film proof-of-concept.
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.
Visual Effects Supervisor Marc Smith and Compositing Supervisor Tanner Bartlett talk burning coals and a chef so hot he’s actually on fire, in Mark Mylod’s dark comedy about a truly cutthroat kitchen, starring Ralph Fiennes and Anya Taylor-Joy, now streaming on HBO Max.
'All Quiet on the Western Front,' 'Avatar: The Way of Water,' 'The Batman,' 'Black Panther: Wakanda Forever,' and 'Top Gun: Maverick' vie for this year’s Best Visual Effects Oscar.
Production VFX Supervisor Ryan Tudhope helped marshal 2,400 shots that seamlessly blended live-action plate photography with practical and digital effects, including full CG jet replacements and the addition of various armaments, for Joseph Kosinski’s hit ‘Top Gun’ sequel starring Tom Cruise.
For 2 years, Production Designer Ramsey Avery and his team never slept, generating 38,000 pieces of concept art – illustrations, digital models, videos, sketches, and paintings – to support 9,500 VFX shots produced by 20 vendors and their 1,500 artists on Prime Video’s hugely ambitious Middle-earth saga.
The award-winning VFX studio’s team, led by Connor Ling and Freddy Salazar, created tools integrated with Unreal Engine 5.1 to render and project realistic backgrounds onto an LED wall using 18 different machines with dual GPUs, for the Netflix series about an ocean liner diverted to answer a distress signal from a long-lost sister ship.
The visual effects supervisor discusses creating the show’s iconic, disembodied hand, along with the demonic Hyde creature and spooky Nevermore Academy, on Netflix’s hit supernatural coming-of-age comedy, recently renewed for Season 2.
VFX Supervisor Dennis Berardi dishes on the show’s signature production of ghouls, critters, an octopus, a blob monster, a six-foot long queen rat, and a lady made out of beauty lotion – 2,000 visual effects shots all totaled - in the horror anthology series now streaming on Netflix.
Working with DNEG and Distillery VFX, visual effects supervisor Brian Connor delivered almost 700 shots depicting intense aerial combat and a defining set of crash sequences in J.D. Dillard’s epic drama, based on the lives of U.S. Navy officers Jesse Brown and Tom Hudner.
Visual effects supervisor Nikos Kalaitzidis discusses the studio’s work helping create incredible lightning effects for Dwayne Johnson’s titular Teth-Adam character, along with other powers, such as the zip effect, and an ‘electrocuted baddie,’ in the Warner Bros. DCEU action-adventure.
Working directly with visual effects vendors during pre-production and communicating constantly with those houses as well as the film’s three editors during the entire production through postvis, were key to helping director Ryan Coogler get his ‘Black Panther’ sequel to the screen.
The prolific composer and sound designer dug deep into his Appalachian heritage, layering a rich tapestry of fiddle playing with the emotional power of orchestral music, on Shannon Tindle and Peter Ramsey’s beautiful, heartfelt four-part live-action / animated miniseries, now playing on Netflix.
VFX Supervisor Enrik Pavdeja, along with Framestore, BlackGinger, and The Third Floor, deliver a bloodthirsty, rogue, fully CG lion involved in 240 shots, including a number of enormously long 5,000-10,000 frame one-takes, on Baltasar Kormákur’s survival thriller.
Led by VFX supervisor James HattSmith, the studio delivers 360 shots filled with a wide range of expansive visuals on the Netflix dark fantasy that follows the journey of Morpheus, the King of Dreams, captured and held prisoner for over a century, who struggles to fix the chaos his absence has caused.
For director Joseph Kosinski and Netflix’s crime drama, VFX supervisor Ryan Tudhope managed a group of studios that produced 900 visual effects shots, including the prison facility, UI graphics and monitor replacements, CG environmental assets, and various set extensions.
