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.
VFX breakdown reel highlight the studio’s work on the Paramount sci-fi adventure, which required traditional matte paintings and a complete reimagining of the Boston skyline; a 2.5D approach was taken for a car chase that combined a real location with greenscreen footage.
Writer/Director Ric Roman Waugh and VFX Supervisor Marc Massicotte discuss how they depict a shattered Earth’s damage, danger, and rebound from an extinction-level meteor strike, in Lionsgate’s ‘Greenland’ sequel, now in theaters.
Teams across three countries finished the film starring Anthony Hopkins and Bill Skarsgård in four months, covering everything from digital doubles and CG environments to complex green screen and glass compositing.
Working from the earliest pre-production to final delivery, the VFX studio delivered over 2,000 shots on the historical drama about the true story of lawyer and statesman Chettur Sankaran Nair’s pursuit of justice in the wake of the 1919 Jallianwala Bagh massacre.
The London and Montreal-based visual effects studio was the lead vendor on the Netflix series’ Season 7 finale, a feature-length sequel episode to the acclaimed Season 4 opener, ‘USS Callister’ released in 2017.
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.
Overall VFX supervisor James MacLachlan helped deliver 600 shots that included teleportation, fragging and defragging, spaceships, space battles, and a gyroscopic Heart of Infinity immersive simulation, on the sci-fi anthology’s season-ending episode, a sequel to the fan favorite Season 4 opener, ‘USS Callister.’
Sequences for the thriller, which stars Bill Skarsgård and Anthony Hopkins and is set completely within a high-tech SUV, include digital doubles, FX, environments, and complex greenscreen compositing.
The studio highlights some of its powerful and poignant environment work on Peacock and Sky’s real-life story of Jewish Holocaust survivors Lali and Gita Sokolov, who met at the infamous death camp in 1942 when Lali tattooed Gita with her prisoner number shortly after her arrival.
The Oscar-winning VFX supervisor helped plan, design and deliver 500 visual effect shots for the Steve McQueen period drama about a 9-year-old evacuee who tries to journey back home to find his mother, turning back the clock to depict the devastating effects on the city and its people of the Nazi aerial attacks on England.
Director Veit Helmer shot live-action animals, then animated them talking using an innovative photorealistic VFX pipeline that included Maya, Nuke, Arnold, Unreal Engine and LiveFX, on his new feature about the fantastical adventures of a young monkey who escapes from a zoo to reunite with his family.
Studio delivers around 70 VFX shots for Netflix’s 90-minute historical docudrama delving into Einstein, his groundbreaking ideas, and his influence on development of the atomic bomb.
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 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.
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.
For Production VFX Supervisor David Van Dyke, Season 2 of Taika Waititi’s hit Max series saw fewer visual effects shots but more efficient virtual production that included use of a library of panoramic background location and sky shots as well as a re-configured LED Volume, known as the ‘J.’
The VFX studio contributed 1,800 shots for Netflix India’s ‘Rana Naidu’ series, based on the popular American Showtime drama series; work included action clean-ups, greenscreen sequences, and CG elements such as the creation of a realistic snake that appears during a drug-induced hallucination.
Sam Koji Hale, Ara Santos, and Ben Giroux dig deep into the production of a special episode from the new season involving more than 20 different animation techniques including stop-motion, pixelation, Claymation, cut-outs and digital puppetry - a veritable ‘dream style’ amalgam that provides an incredible visual feast for the eyes; Season 2 premieres today on Paramount+.
Led by VFX supervisor Axel Bonami, the studio’s team delivers 500 shots on Jonathan Goldstein and John Francis’ action adventure, including a multi-creature-transformation castle escape sequence, the cavernous, lava-filled Underdark, Themberchaud the dragon, a host of magical spells and one really cool portal.
The veteran VFX supervisor delivered between 500-800 shots per episode on the 6-episode Peacock series, depicting Bill Nye getting killed in the most epic global disasters imaginable, including large-scale asteroid strikes, volcanic eruptions, earthquakes, tsunamis, floods… that mixed visual effects with actual footage to show what would happen and how we can either mitigate it, stop it, or survive it.
Co-Visual Effects Supervisor Raymond Chen, working with DNEG, Pixomondo, Stereo D, and BOT VFX, delivers dragons and unicorns, as well as forcefields, capes – yes, capes – and various magical effects, on Warner Bros. and David Sandberg’s ‘Shazam!’ sequel.
Visual Effects Supervisor Bruce Jones, working with DNEG, Pixomondo, RISE, Scanline VFX, and Wētā FX, delivers a slew of mythical monsters, including dragons, cyclops, manticores, minotaurs, and harpies, on Warner Bros. and David Sandberg’s ‘Shazam!’ sequel.
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.
