Studio delivers 160 visual effects shots for the eighth and final season of STARZ’s epic time-traveling adventure based on Diana Gabaldon’s best-selling novels.
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.
From creature work to seamless environmental and combat enhancements, the studio elevates the dark fantasy with a blend of intricate close-up visual effects and invisible world-building.
The studio delivered 113 shots across 7 episodes, including vast environments, adrenaline-charged action, and visceral fire-driven sequences that were created via a broad range of visual effects techniques.
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.
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.’
Veteran compositor Hank Chang explores the crucially important but low-profile world of invisible visual effects, where small digital changes elevate performances, smooth edits, and fix flaws that hopefully, the audience never sees.
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.
The visual effects studio’s team handled multiple digital matte paintings of snowy environment landscapes, added additional snow, provided screen replacements, and created the opening sequence with a fully CG TRAAM building, in just 4 weeks, on the HBO Max film.
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.
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.
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.
With a team led by VFX supervisor Jan Krupp, the leading visual effects company delivered 235 shots on the Netflix adventure-comedy about 2 former CIA spies who are dragged back into the world of espionage when their cover is blown.
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.
Take a deeper look at ‘Alien: Romulus,’ ‘Better Man,’ ‘Dune: Part Two,’ ‘Kingdom of the Planet of the Apes,’ and ‘Wicked,’ all vying for the Best Visual Effects Oscar on March 2, 2025.
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.
From previs, techvis, and postvis to a 5,000-frame street fight ‘oner,’ 3rd act Time Ripper disintegration, and our villain’s hand rummaging around a person’s head – think pinkie out the nose – VFX supervisor Matt Twyford, senior visualisation supervisor Kaya Jabar, and their teams delivered some of the most impressive visual effects seen of late on Shawn Levy’s hilarious and bloody new Marvel blockbuster.
VFX Supervisor Dan Macarin dissects his team’s intricate work enhancing the motion of Deadpool’s mask to match Ryan Reynolds' emotions, comedic timing, and dialogue, along with digitally enhancing Wolverine’s corpse, on Marvel Studios’ blockbuster superhero adventure, now playing in theaters.
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 Dan Bethell helped the studio deliver 880 shots on famed director George Miller’s latest post-apocalyptic romp, including work on the Citadel Battle, the Bullet Farm ambush, the Stowaway to Nowhere, and the titular character’s mechanical arm.
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.
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.
