BigBug writer/director Jean-Pierre Jeunet, and the film’s special effects artists and production designer, show off the cutting-edge robotics, facial recognition software, and CGI that went into making the fantastic world of BigBug.
During the pandemic, shooting a new commercial was near impossible. Home Depot also needed to showcase their staff wearing masks. To make an old commercial look like new we came in and added face masks wherever needed.
“I think that as soon as you say, ‘okay, let’s make Dune,’ you go back home and the first thing you ask is, ‘okay, what about the worm?’” – Denis Villeneuve.
The sandworm is a massive creature that lives in the deep desert, known by the Fremen as Shai Hulud, and revered as a god-like figure. Discover how Villeneuve and his design team created a lifeform with a soul, that you will believe can survive in the roughest environment on Arrakis.
“Lost Illusions” directed by Xavier Giannoli is an adaptation of the novel by Honoré de Balzac. Our Parisian teams produced 175 VFX shots with, among other things, the creation of set extensions so that the streets corresponded to the era of the film.
Check out some of the exciting action that Industrial Light & Magic brought to life for Marvel Studios’ Hawkeye, streaming now on @Disney Plus.
Marvel Studios’ “Hawkeye” is an original new series set in post-blip New York City where former Avenger Clint Barton aka Hawkeye has a seemingly simple mission: get back to his family for Christmas. But when a threat from his past shows up, Hawkeye reluctantly teams up with Kate Bishop, a 22-year-old skilled archer and his biggest fan, to unravel a criminal conspiracy.
Stunning visuals abound in Denis Villeneuve’s Dune: Giant space vessels transport people from world to world with the aid of ‘the Spice’. House of Atreides’ ornithopters flutter, insect-like, around the desert planet of Arrakis, while Harkonnen ships land omniously at Arrakeen to begin a one of several epic ground battles in the film. While Arrakeen, itself, lies in the rocky desert like a massive tomb. And below the ground, massive sand worms move, displacing the sand above, emerging at intervals to devour whole mining vessels.
Footage of exteriors from Norway, Abu Dhabi, and Wadi Rum in Jordan, as well as interiors from the huge Origo Studios soundstage and backlot in Budapest, Hungary, are combined. Their practical effects enhanced with CG to create effects that look like they belong in the real world.
The heads of the DNEG departments involved in the making of the Dune visual effects: Paul Lambert – Production VFX Supervisor, Tristan Myles – VFX supervisor (Vancouver), Brian Connor – VFX supervisor (Montreal), and Robyn Luckham – Animation Director, sit down to talk with us about just how they created those amazing Dune visual effects!
For the third and final season of the Netflix series Lost in Space, Digital Domain was tasked with creating 200 visual effects shots across episodes 302 and 303. Our work included creating the chaos around the Jupiter as it dodged asteroids, building the amber planet, destroying the Resolute and designing a new robot character.
The Wheel of Time, a series of high fantasy novels by American author Robert Jordan, is brought to life for an Amazon Studios and Sony Television adaption, was Amazon’s No. 1 biggest show of 2021.
In our final video from behind the scenes of Ghostbusters: Afterlife’s production, Adam visits the practical special effects department to watch the crew rig up and test the deployment of almost two hundred ghost traps for the film’s epic finale. Special effects supervisor Elia Popov shows us how his team modified and synced up these traps to activate all at once in spectacular fashion!
Step onto the battlefield and uncover our DNEG team’s #VFX work on ‘The Battle at Lake Changjin’ , China’s most expensive film ever made — and the highest grossing film in Chinese cinema history.
Check out the crowd system we perfected for American Underdog, which includes support for volumetric captures as well as simulated hair and cloth. Many thanks to show-side VFX Supervisor and Producer Sean Devereaux and great job to the ZERO team! We are currently breaking new ground in leveraging volumetrics for crowds as this technique allows us to bring real-but-digital humans closer to camera than ever before.
The three terrifying Basilisks which feature in the final episode of The Witcher’s second season, are some of the deadliest creatures our hero has ever encountered. Developing the look of them was a year-long journey for Cinesite’s team.
Despite being assembled from a range of creatures’ anatomy, the Basilisks needed to look and move cohesively, with the animators carefully integrating them with the stunning on set fight choreography. On top of all that, they required fur, feathers AND scales – quite the challenge! Find out more about Cinesite’s work on The Witcher S2 here cinesite.com/the-witcher-2/