Led by Chris McLaughlin and Greg Fisher, the studio handled 746 shots across 17 sequences, creating Eternia, Castle Grayskull, Cringer, Zoar, Roboto and Skeletor’s skull, balancing the campy, cartoon-inspired fantasy with believable, realistic characters and environments.
From the ‘ants in an anthill’ frozen Infected to a monstrous bloater flamethrower fight, realistic CG dogs, and immense Jackson battle, Visual Effects Supervisor Alex Wang managed the delivery of 2,500 shots displaying incredible ambition, scope, and sophistication on the hit HBO post-apocalyptic drama series.
VFX supervisor Stephen James, one of the show’s recent Best Special Visual Effects Emmy Award nominees, produced 356 shots across 36 sequences on the hit HBO series, filled with digital environments and water simulations that brought to life a version of Seattle overtaken by vegetation.
VFX Supervisor Nick Epstein and Animation Supervisor Dennis Yoo talk previs, massive hordes of real and CG infected, an ‘ant hive’ of frozen infected, digital dogs, and an even bigger bloater they helped produce for HBO’s critically acclaimed and wildly popular series.
The leading VFX studio delivers over 850 shots, building 61 characters and 480 assets, including an eclectic cast of CG automatons voiced by the likes of Woody Harrelson, Alan Tudyk, Hank Azaria and Anthony Mackie, on the Joe and Anthony Russo sci-fi comedy adventure, now streaming on Netflix.
The ILM VFX and Groom Supervisor discusses the challenges of creating Dulcibear, the nanny, and Wolf Doctor digital characters, along with Elphaba as a bright green baby, in Jon M. Chu’s hit musical adventure.
The leading VFX studio tackles imprisoned symbiote creator Knull, his home world Klyntar, and scores of monstrous creatures known as Xenophages on the final film of the Marvel and Sony ‘Venom’ trilogy starring Tom Hardy.
See how the studio brought Sonic, Tails, and Knuckles to life in the face of a massive, all-consuming black hole and mountain collapse, in Paramount’s latest high-speed franchise outing.
The leading creative studio delivers 500 shots across 11 sequences on the final film of the Marvel and Sony ‘Venom’ trilogy, including a Symbiote dance sequence, a battle atop an airplane, and the first non-human takeover… of a horse.
Led by VFX supervisor J.P. Jaramillo, the company delivers 256 shots on Kevin Costner’s epic Western, including river, canyon, and town environments, digital horses and insects, and lots of fire, smoke, and rain.
VFX Supervisor Wojciech Zielinski talks about adding depth, breadth, and grit to the 2,596 visual effects shots produced for the second season of the hit Paramount+ sci-fi series, adapted from one of the most popular video game franchises of all time.
The company delivered 97 shots for the popular action-adventure sci-fi series’ second season, including futuristic set extensions, full CG city environments, hologram inserts, and destruction FX simulations for battle scenes, vehicles, and crowds.
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.
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.
The VFX studio tackled numerous large digital assets, creating the planet Hala and its vast city, taking it from brilliance to ruins, with the Sun’s initial luminous implosion and, ultimately, its miraculous rebirth.
The VFX studio animates Disney+ series’ AI-driven character’s sinister transformation from friendly to deranged, delivering more than 125 shots, while also creating Loki’s green energy blasts and a digital extension to represent a blighted, working-class section of Chicago.
The studio contributed 259 shots across multiple sequences, including breathing life into iconic characters Sebastian, Flounder, and Scuttle – staying faithful to their original characters while integrating actual animal behavior.
The 3D camera tracking VFX app joins the Boris FX Suite, which already boasts Sapphire, Continuum, Mocha Pro, Silhouette, Optics and CrumplePop; live SynthEyes demos slated for IBC September 15-18.
Visual Effects Supervisor Simon Jung and Animation Supervisor Dennis Yoo talk clickers, bloaters, giraffes, and fungi, some of the captivating and ghastly visuals they helped produce for HBO’s critically acclaimed and wildly popular series, nominated for 25 Emmys including Outstanding Visual Effects in a Season or Movie.
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 leading visual effects company, led by VFX Supervisor Chris White, revisits one of the Netflix series most compelling – and fully CG – characters in Season 3’s ‘Marigold’ episode, nominated for an Outstanding Special Visual Effects in a Single Episode Emmy.
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.
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.
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.
