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.
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.
Copenhagen team’s extensive design work included holograms, set extensions and creature augmentation for the Lucasfilm saga, which follows the former Jedi Knight Ahsoka Tano as she investigates an emerging threat to a vulnerable galaxy; Season 1 now streaming on Disney+.
Led by VFX supervisor Mathieu Dupuis, the studio’s visual effects work brings audiences back to medieval times, with a touch of faerie tale and fantasy elements, including unique castles, enchanting countryside, and the spikey Stone Mountain cave where the titular character, played by Millie Bobby Brown, meets a fire-breathing dragon.
VFX supervisor Sue Land discusses how the studio reimagined the legendary story, based on Bernard Cornwell’s ‘The Warlord Chronicles,’ aligning fantastical elements with plausible 6th century realism to visualize Sub-Roman Britain on the 10-episode MGM+ and ITVX fictionalized historical series.
Take a deeper look at ‘The Creator,’ ‘Godzilla Minus One,’ ‘Guardians of the Galaxy Vol. 3,’ ‘Mission: Impossible – Dead Reckoning Part One,’ and ‘Napoleon,’ all vying for the Best Visual Effects Oscar at the 96th Academy Awards coming March 10, 2024.
Studio creates ‘authentic artificiality’ for Yorgos Lanthimos’ BAFTA winning, Oscar-nominated feature starring Emma Stone, Mark Ruffalo, Willem Dafoe and Ramy Youssef.
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.
The global visual effects studio partnered with Dharma Productions and DOP Manush Nandan to deliver over 1,300 shots, including set extensions, composites and motion graphics on numerous shots of phones, TVs, and iPad screens, and a CG car in a frantic chase sequence, on Director Karan Johar’s dramatic love story.
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 visual effects studio delivered 170+ shots for Netflix’s adventure series based on Eiichiro Oda’s popular manga, creating an array of CG naval and pirate ships, adding water and wind to fill the sails and set extensions to seamlessly integrate with the live-action.
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.
Studio delivers concept design, hybrid virtual production previs, postvis, motion graphics, and VFX design and supervision across all three anniversary episodes - ‘The Star Beast,’ ‘Wild Blue Yonder,’ and ‘The Giggle;’ work includes creating the Doctor’s all-new Tardis interior virtual reality asset and graphic language for his new Sonic Screen.
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.
Studio delivered 126 VFX shots to help realize Ridley Scott’s vision of Napoleon’s 1793 Siege of Toulon and his violent suppression of the Paris riots two years later.
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.
