VFX Breakdowns

  • La petite bande – MPC

    The MPC Paris teams are happy to have collaborated with ‘Les Films Pelléas’ on the visual effects of ‘La petite bande’, directed by Pierre Salvadori!

    More than 265 shots were in charge of our teams supervised by Cédric Fayolle.
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  • The Boys – Season 3 – MPC

    The Boys are back and as diabolical as ever. As our first stint with the genius team over at Amazon we were stoked to work on some key scenes.

    From arguably the most emotional scene in the series (RIP Timothy) to some extreme NSFW shots we couldn’t even include in our breakdown reel, this was a different project for many reasons!

    Led by MPC VFX Supervisor, Charlie Bayliss and VFX Producer, Taylor Kennard, our teams worked closely with Production VFX Supervisor Stephan Fleet to achieve new levels of VFX to shock audiences far and wide. To see our other work on the show, you’ll have to watch it.
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  • Stranger Things – Season 4 – ILP

    Don’t miss this VFX Breakdown showing the creatures and environments work made by the teams of Important Looking Pirates on the fourth season of Stranger Things!
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  • HALO – Season 1 – Rodeo FX

    Halo was a challenge on several levels for the team: it was our first collaboration between Rodeo and Paramount+; taking on a highly anticipated video game adaptation that many fans had been asking for; and finally, we were tasked with creating environments that were going to surround the characters throughout the entire season, and beyond. The stakes were high, and the final results speak for themselves.

    We started the adventure nearly 3 years ago with different tests right before the pandemic hit. As production resumed, our team went back to it and started the meticulous work of adapting a gigantic base of concept art references. While some locations were taken straight from the game, some were altered to better reflect the show’s vision.

    From Reach City to Oban (Garbage City), Eridanus to Madrigal Outpost, join us on a deep journey through space as we look at the work done on season one of Halo.
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  • The Sandman – Untold Studios

    Let’s discover the variety of the work made by Untold Studios on the Netflix adaptation of The Sandman!
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  • Stranger Things – Season 4 – DNEG

    Take a trip into the upside down with us to learn more about our work on Netflix’s Stranger Things Season 4!

    Enjoy this peek behind-the-scenes of the creative process behind the epic Vecna bat battle sequence. From the initial inspiration to seamlessly stitching together the final scene, DNEG’s Neil Eskuri (VFX Supervisor), Anita Borcsok (Environment Supervisor), S Rajuganesh (CG Supervisor) and Carlos Rosas (Animation Supervisor) have all the details.
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  • The Northman – Bluebolt

    https://vimeo.com/710737207
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  • The Fuse Group – Showreel 2022

    Check out our updated Fuse Group showreel that includes our new sister studio El Ranchito joining the mix of absolutely stunning VFX work. Welcome to the team El Ranchito!

    FuseFX is joined by its sister studios Folks VFX, Rising Sun Pictures, and El Ranchito collectively known as The Fuse Group. The Fuse Group has artists in 13 locations across the globe. Check out this joint reel with some of the best VFX shots we’ve collectively produced.
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  • Perry Mason – Digital Domain

    Led by VFX Supervisor Mitchell S. Drain, Digital Domain was proud to produce some incredible work on “Perry Mason” for HBO. The work included a recreation of the original Angels Flight area in Los Angeles. The VFX team researched the look of the city as it was in 1930 and compared it to the modern urban layout it is now, then worked to integrate the two as seamlessly as possible. New techniques brought all designs back to life, from the buildings to the streets to the iconic Angels Flight cable-car, a once iconic vertical trolley that last operated in 1969.
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  • MPC Film – FX Reel

    MPC Film’s FX artists are experts in creating photo-realistic effects simulations. They’re the people behind the colossal destruction effects of Godzilla Vs Kong’s battle in Hong Kong, they set Cruella’s dress alight to create an unforgettable entrance, they crafted the naturalistic effects of the African Savanna for Disney’s The Lion King and brought a terrifying dust storm to Ridley Scott’s Prometheus.

    We’re excited to showcase our FX artists work over the years in our latest showreel!
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  • The Sandman – One of Us

    After 32 years confined to the world of the comic book, this year sees The Sandman brought to Netflix screens by visionary author Neil Gaiman and his fellow executive producers Allan Heinberg and David S. Goyer.

    Across 240 Visual Effects shots, the One of Us team, made up of almost 100 artists and led by VFX Supervisor James Brennan-Craddock, take the viewer on a supernatural journey into the realm of the Sandman, where dreams, and especially nightmares, come to life.
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  • Rise FX’s use of NUKE on This is Love

    Rise FX is the biggest VFX vendor in Berlin. Here, VFX Supervisor Florian Gellinger shows off the work they did on the Matthias Glasner film This is Love. They used Nuke to help visualize the shot in previs through finishing it by recreating the environment using camera mapping and other tricks. Clever stuff.
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  • The Sandman – One of Us

    After 32 years confined to the world of the comic book, this year sees The Sandman brought to Netflix screens by visionary author Neil Gaiman and his fellow executive producers Allan Heinberg and David S. Goyer.

    When the Sandman, aka Dream — the powerful cosmic being who controls all our dreams — is unexpectedly captured and held prisoner for over a century, he must journey across different worlds and timelines to fix the chaos his absence has caused.

    Across 240 Visual Effects shots, the One of Us team — made up of almost 100 artists and led by VFX Supervisor James Brennan-Craddock, VFX Producer Catherine Martin and 2D Supervisor Nathan Remy — take the viewer on a supernatural journey into the realm of the Sandman, where dreams, and especially nightmares, come to life.
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  • MPC Episodic Showreel 2022

    We’re so pleased to share our brand new 2022 Episodic Showreel!

    Showcasing the incredible feature episodic visual effects work crafted by our team of artists, creatives, technologists, and support teams – this new reel features work from Prehistoric Planet, HALO, Vikings: Valhalla, Around the World in 80 Days, and The Boys, to name just a few.
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  • Resident Evil – MPC

    MPC delivered spine-tingling visual effects to the 8-episode dramatic sci-fi series Resident Evil. Closely collaborating with Netflix and director Andrew Dabb, MPC’s team of VFX artists built around 210 shots ranging from simple muzzle flashes to complex digital environments and CG vehicles.
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  • Bulbbul – Redchillies vfx

    Bulbbul, a child bride, grows into an enigmatic woman ruling over her household, hiding her painful past, as supernatural murders of men plague her village.

    This project is special for us, given the scale of certain effects we utilised in it. From raging forest conflagrations to fields filled with dense ‘Kash Phool (kans grass), Bulbbul was all about the behaviour of natural elements. Working on the inverted foot was an exciting challenge, as it involved delving deeper into human anatomy. Adding to that were scenic day-night conversions, as well as the red moon transitions, particle disintegration effects and a lot more.
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  • The Witcher – Season 2 – Platige Image

    Platige was responsible for making the Witcher’s magic effects look as realistic as possible. Developing these effects involved taking references from nature, including fire, water, tornados, atmospheric discharges, or mirages created by hot air bending light above the road.
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  • Robot Reel – Image Engine VFX

    Watch our robot demo reel to see our highlights in bringing robots to life.

    More showreels: https://image-engine.com/about/
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  • 2021 – FX Year in Review – Scanline VFX

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  • Moon Knight – Behind The VFX Scenes

    Remote Control 4: Featuring the World’s Greatest Filmmakers At Work

    After months of re-imagining, rebuilding and troubleshooting, new concepts around remote production and collaboration have taken shape. We’ve asked several industry leaders to give you their insights and lessons learned, in short and sweet presentations.
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  • Why The Batman is So Beautiful

    Director Matt Reeves and cinematographer Greig Fraser have created an immersive world draped in darkness and mystery that makes most modern blockbusters look like amateur student films, and it’s an answer to a trend that’s cursed the entire filmmaking industry which is to make every shot look clean. But what makes The Batman dirty then? What’s so unique about how The Batman was shot that makes it so… beautiful? In this video we’re going to dive into the approach Matt Reeves and Greg Fraser took to bring their Batman to life, the lenses they used, their cinematic references, the lighting, color grading, and an interesting new approach to digital cinema with 35mm film. We also do a recreation of The Batman using an anamorphic lens and the Sony A7iv to show how you can apply the principles from The Batman to your own work.

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  • Moon Knight – Union Visual Effects

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  • Thor – Love and Thunder – The Goats’ Origins

    Jake Morrison, VFX Supervisor for Marvel Studios’ Thor: Love and Thunder breaks down how Toothgnasher and Toothgrinder came to life in the film!
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  • The Boys – Season 3 – MPC

    The Boys are back and as diabolical as ever. As our first stint with the genius team over at Amazon we were stoked to work on some key scenes.

    From arguably the most emotional scene in the series (RIP Timothy) to some extreme NSFW shots we couldn’t even include in our breakdown reel, this was a different project for many reasons!
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  • Now and Then – Entropy Studio

    “Now & Then” is a multi-layered thriller that explores the differences between youthful aspirations and the reality of adulthood, when the lives of a group of college best friends are forever changed after a celebratory weekend ends up with one of them dead. Now, 20 years later, the remaining five are reluctantly reunited by a threat that puts their seemingly perfect worlds at risk.
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