The VFX studio delivered roughly 1,000 shots across the 8-part NBC and Peacock miniseries, building 73 animal types and 55 variations, running 100 environments through an Unreal Engine finishing pipeline, and carrying a scar on a juvenile's forehead all the way into adulthood.
Mixing practical with partial and fully CG shots, the 4-part Netflix miniseries takes viewers back 235 million years to an Earth teeming with creatures big and small, feathered and scaled, all quite hungry.
The Cambridge-based studio returns as sole vendor on the ITV crime drama, delivering 336 shots and 94 sequences combining fire simulation, Gaussian splatting, and invisible effects to support the series’ expanded environmental scope.
Steven Spielberg reunites with the team behind ‘Life on Our Planet’ and ILM to recreate prehistoric life, with big sharp pointy teeth, for the 4-part show; premieres March 6.
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.
The leading visual effects company delivered environment extensions, full environment replacements, and crowd duplication… plus some CG animated golf balls, on Adam Sandler and Netflix’s hit comedy sequel to Sandler’s seminal 1996 hockey-golf romp, ‘Happy Gilmore.’
Visual Effects Supervisor Jelmer Boskma and his team delivered 448 shots across 10 episodes, creating previs, techvis, alien environments, the titular security android, and a giant 2-headed centipede, on the hit Apple TV+ sci-fi comedy, now streaming, that just scored a Season 2 renewal.
VFX Supervisor Jordi Cardus Civit details how the studio balanced real-time workflows in Unreal Engine and complex simulations to help tackle snowstorms, CG creatures, and virtual environments in Netflix’s ambitious live-action adaptation of the iconic Latin American sci-fi graphic novel.
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.
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 leading creative company delivered 750 visual effects shots across 18 sequences, including cement sentry towers, surrounding forest, stars Miles Teller and Anya Taylor-Joy in action, and the expansive, mist-filled, and mysterious ravine itself.
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.
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.
The visual effects studio goes massive – and monstrous - with ‘The Blob,’ a bulbous, pustulous creature that threatens the very existence of humanity, on the final season of Netflix’s hit action comedy about a dysfunctional family of former child superheroes who must reunite to save the world; all seasons are now streaming.
VFX Supervisor John Heller and MPC VFX Supervisor Greg Astles share their adventures in bringing to life the multiple distinctive environments that anchor the acclaimed Apple TV+ sci-fi thriller.
VFX Supervisor Wayne Stables talks about how he and his team helped manifest a slew of dragons – without getting toasted – for HBO’s ‘Game of Thrones’ prequel.
See how the studio created the show’s iconic, larger than life dragons with a seamless fusion of on-set footage and CG assets, each crafted to embody a distinct personality; the terrifyingly regal and composed Silverwing joins the hunt in the new season.
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.
Studio’s team delivers over 500 shots, including CG environments, rendering photoreal historical locations, and enhancing action with complex FX simulations; Season 3 now streaming on Netflix.
Award-winning VFX supervisor Richard Bluff talks about his work delivering more than 4,000 shots on the Disney+ Star Wars spinoff that has just been nominated for five Emmy Awards.
The VFX studio created 137 shots for the Netflix sci-fi drama, including replicating the vastness of the Neutrino Observatory and breathing life into a photoreal chimpanzee animation.
The visual effects studio recreates Nazi-occupied Paris, the decimation of Nuremberg, and the war-ravaged beaches of Normandy for the Apple TV+ American war drama miniseries, which follows the WWII airmen from the 100th Bomb Group.
Leading visual effects studio delivered 266 shots for director Brad Peyton’s sci-fi adventure; film stills and concept art help illustrate the work on full CG environments, set extensions, spaceships, digital doubles, and FX simulations for epic battle sequences.
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.
VFX supervisor Chris MacLean talks about the stunning visuals – 3,215 shots in all - that depict the worlds, characters, ships, and creatures of the hit sci-fi series, based on Isaac Asimov’s famed Hugo Award-winning sci-fi trilogy about Dr. Hari Seldon’s mathematical ‘psychohistory’ predictions; now streaming on Apple TV+.
