After earning an Emmy nomination for ‘Special Visual Effects’ on season 1, SPINVFX returned to The Umbrella Academy for season 3, with Carrie Richardson and Jeff Campbell reprising their roles as Supervising VFX Producer and Visual Effects Supervisor, respectively. In the 500 shots, we did for the show, everyone from artists, producers, and scanning crew, gave their talents, time, and commitment to flawlessly bring complex environments, creatures, and superpowers to life.
Join Raphael Letertre, DFX Supervisor, and Pierre Gobilliard, Lighting Supervisor, on an epic behind-the-scenes journey for Episode 1 of The Sandman’s Breaking Down The Breakdown!
Calling all Nevers and Evers… the breakdown reel for The School for Good and Evil is out! 😇😈 Find out how Image Engine created fantastical creatures and FX work in this fantasy film, including a one-stump leg pumpkin Reaper, a field of vicious flowers, Rafal’s powerful Blood Magic, and more!
The extremely talented team at SPIN under the guidance of VFX Supervisor Wesley Sewell, entered the madness of the multiverses and brought to life some breathtaking environments and shots. The complexity of the stellar vortex required a visual balancing act. Story-wise, we were challenged with bringing all of these elements to a crescendo to underline the imminent danger our characters were in. We had highly detailed foreground asset destruction of the wall and pillars, choreographed brick destruction, black strands of vortex energy, and multiple layers of debris; all of which had to blend into the motion of our hero vortex setup, which in itself was made up of multiple high-resolution volume sims. Getting all of these elements to play together in a cohesive way without being visually overwhelming or introducing continuity issues required extensive planning and flexible effects setups that could be art-directed with quick turnaround times.
The second challenge was creating the “Multiverse Map” simulations. Doctor Strange summons this map from an ancient book which creates a sprawling three-dimensional visage around him. Each “orb” represents a time/place/universe that Doctor Strange can examine. The orb look was realized with multiple levels of procedural volumes, simulated volumes and particles, and internal lights to cast volumetric rays. ID passes were also critical to allow our compositing team to tune the renders per orb and per component to achieve the desired look. The “orbs” that we created were so successful that Marvel shared them with all the other VFX vendors for a beautiful continuity throughout the film.
To realize 43 minutes of screen time for Marvel Studios’ latest superhero, She-Hulk, Digital Domain VFX Supervisor Jan Philip Cramer and his outstanding team of artists sought inspiration in the technology used to create everyone’s favorite villain, Thanos. Building on that same technology, the Digital Domain team successfully transformed the 5’4” Tatiana Maslany into a 6’7” green giant, without sacrificing the nuance of the Emmy-winner’s performance.
In addition to utilizing the studios proprietary tools, Masquerade 2.0 and Charlatan, to bring She-Hulk to life, DD also worked on several other visual effects sequences throughout the series while introducing new systems. The team developed a ShapeWear system that allowed the superhero’s attire to accurately adjust to the character model, while subtly and realistically augmenting the muscles to match. This can be seen throughout the series and most notably in the dance scene with Megan the Stallion.
The team also created CG droid K.E.V.I.N., which was meant as an homage to Marvel Studios mastermind, Kevin Feige, and much more! In total, Digital Domain contributed nearly 1,000 VFX shots to She-Hulk: Attorney at Law, including 660 shots of She-Hulk alone
Under the direction of Justin Haythe, The Serpent Queen delivers the story of Catherine de’ Medici. MPC delivered a total of 287 shots, with the teams led by Bastien Chauvet, MPC VFX Supervisor, and Charles Farkas, MPC Compositing Supervisor.
We are proud to present our VFX breakdown for The Book of Boba Fett – winner of the Emmy Award for “Outstanding Special Visual Effects in a Season or a Movie.”
Hybride produced an impressive total of 1081 VFX shots for the show, representing the studio’s most considerable workload with Disney.
Erik Schneider knows the world of Babylon Berlin like the back of his hand and returns as VFX supervisor with his team to digitally spice up Season 4. More set-extensions, more digital crowd simulation and, more importantly, more explosions! Thanks again to X-Filme, Tom Tykwer, Henk Handloegten and Achim von Borries for their continued trust and support!
Our MPC Liege teams produced more than thirty VFX shots supervised by Alex Rouil and Boris Kaufmann. Among their work are carnivorous plants, crawling and slimy CG materials and CG drones.