'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.
The New Jersey-based studio celebrates spacesuits and spaceships as it creates the opening and final credits for the studios most recent animated feature.
John Nolan, a trainee 22 years ago on ‘Walking with Dinosaurs,’ returns to the world of mechanical saurians to produce 48 creatures from 12 species, including a 22-foot-high Giganotosaurus with a head the size of a transit van, in Colin Trevorrow and Universal’s latest dino epic.
In the Hulu Original film prequel to the classic ‘Predator’ movie franchise, filmmaker Dan Trachtenberg teams with effects veterans Alec Gillis and Tom Woodruff Jr., and actor Dane DiLiegro to create an updated, and creepier version of the infamously deadly alien human hunter.
The visual effects studio recreates the King of Rock & Roll’s famed home, showing its change over the course of 3 decades, along with shots of the iconic Hollywood sign, in Baz Luhrmann’s lush, colorful biopic.
VFX supervisor Pete Dionne and his team create the innovative black and white Moon of Shame sequence on Taika Waititi and Marvel Studios’ fourth entry in the hammer-wielding god’s film franchise.
VFX producer Brooke Noska helped 14 vendors deliver more than 7,000 shots in the long awaited third season of Seth MacFarlane’s sci-fi comedy adventure, streaming exclusively on Hulu.
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.
