Blasted – Trailer

Bros before UFOs…This sci-fi comedy is inspired by the Norwegian UFO phenomenon. Former childhood friends and local laser tag duo – Sebastian and Mikkel – reconnect later in life for the ultimate bachelor party that gets invaded by aliens. To defeat the aliens they need to rekindle their relationship to save everyone.

Morbius – Digital Domain

For the Sony Pictures’ film Morbius, Digital Domain created over 500 visual effects shots. Led by VFX Supervisor Joel Behrens, our artists were responsible for the final monstrous, vampiric looks of Dr. Michael Morbius, played by Jared Leto, and Milo, played by Matt Smith. To bring the characters to life the award-winning visual effects studio employed its proprietary facial capture system, Masquerade. In addition to the character design, Digital Domain artists developed the look of the bloom, super speed, flying, echolocation and shedding effects, and contributed to several sequences including the container ship sequence, the subway chase, Morbius’ prison escape and the final battle at the construction site.

Pushpa – The Rise – Makuta VFX

Makuta provided VFX supervision and LiDAR scanning for the majority of this high-grossing feature, producing work for the complex waterfall episode, foliage extensions, forest rebuilds and 3D matte extensions to recreate the sandalwood trees that were critical to the story. With Makuta is producing hundreds of shots working closely with the direction team, the project’s visual effects were turned around in a very short time. This is one of the films, we worked during the pandemic. The film has managed to collect Rs 342+ cr worldwide and the biggest earner of 2021 in India.

The One And Only Ivan – MPC

500 artists across MPC Film’s studios in London, Montreal and Bangalore worked together to bring to life The One and Only Ivan’s 9 primary characters Ivan the Gorilla, Bob the dog, Ruby the baby elephant, Stella the elephant, Frankie the seal, Murphy the rabbit, Snickers the poodle, Henrietta the chicken and Thelma the parrot, and the film’s photo-realistic full CG environments and digital set extensions.

Cyrano – Cinesite

From director Joe Wright comes this lush, musical retelling of the timeless tale of Cyrano de Bergerac. Set against a baroque cityscape, self-conscious wordsmith Cyrano helps young Christian to win the heart of Roxanne, who Cyrano secretly loves. Cyrano has been nominated for Outstanding British Film in the 2022 BAFTA film awards.

This lush production includes around 100 invisible visual effects, which range from environments and set extensions to retimes, CG blood, swords, fires, clean-ups and an action-packed, fast-paced long-shot, which sees Cyrano single-handedly besting a mob of attackers.

Visual Effects Supervisor for the production (and Cinesite) was Artemis Oikonomopoulou. The film is produced by Tim Bevan and Eric Fellner of Working Title, along with Guy Heeley.

Rangasthalam – Makuta VFX

Makuta was tasked to produce the primary introductory shots of Ram Charan in this iconic drama. From producing the initial car accident shots, simulation, rendering and compositing work, we also produced the CG bicycle, which crashes in front of camera for the same shots. The main sequence, we were required to produce was the introductory shot of the hero. Originally attempted as a drone shot, it wasn’t possible for the crew to achieve the sweeping wide shot to close-up that was necessary, therefore a full CG environment was built, complete with barrage, water, foliage, etc., to match the subsequent live shots in the sequence. Combined with a live plate of the actor, the final shot swept down from an extreme distance to a close profile shot seamlessly.

How Mirror Scenes Are Shot In Movies & TV

Mirror shots in movies are especially challenging, as it’s hard to shoot a character’s reflection without accidentally revealing the camera. So Hollywood has many visual tricks to avoid this. Movies like “The Lady from Shanghai” and “It Chapter Two” used two-way mirrors. “Terminator 2: Judgment Day” didn’t use a mirror at all and instead had Arnold Schwarzenegger and Linda Hamilton standing on one side of an open frame looking into a double set with body doubles mimicking their every move. Better visual effects meant movies like “Birdman” could shoot a real mirror and easily erase the camera later. For “Last Night in Soho,” Edgar Wright used a combination of these techniques, and many more, so Thomasin McKenzie and Anya Taylor-Joy could mirror each other’s movements.

7 Classic Movie Tricks That Led To Modern CGI

Before the widespread use of CGI, filmmakers used surprising in-camera tricks and optical illusions to fool audiences. Early filmmakers like Georges Méliès could add a hidden cut to film a wide array of illusions. Creative composites allowed for an invisible character in 1933’s “The Invisible Man” and for Moses to part the sea in “The Ten Commandments.” Artists literally painted on top of shots to extend sets in “Citizen Kane” and create fantasy worlds in “The Wizard of Oz.” While most of these methods are obsolete today, new technologies like the LED projection used in “The Mandalorian” and the motion-control cameras in 2020’s “The Invisible Man” build off these past methods.

How City Streets Are Transformed To Look Old In Movies

Go behind the scenes to find out how period movies turn back the clock on city streets.

Rena DeAngelo is the Oscar-nominated set decorator behind this year’s “West Side Story” and Wes Anderson’s “The French Dispatch,” both set in the ’50s-to-’60s time period. In this episode of “Movies Insider,” she breaks down how she’d transform a contemporary New York City street to look like a 1957 time capsule.

Rena takes us through Eclectic/Encore Props in Long Island City, Queens, and shows us the period products and street dressing she would use to rewind time on a modern city. Find out how set decorators dress windows, create fake storefronts, and cover up modern signifiers to make filming locations resemble an era of the past.

Rena has worked on a long list of period pieces, from “Mad Men” to “The Help.” She is a frequent collaborator of Steven Spielberg’s, having worked on three of the director’s historical dramas: “West Side Story,” “Bridge of Spies,” and “The Post.”

Kaala – Makuta VFX

As the principal vendor on this film, Makuta was involved in the set design decisions, drastically reducing the overall VFX budget through our on-set shoot supervision, LiDAR scanning of the entire 800m long set and providing “invisible” visual effects to recreate the 3D -Dharavi slums of Mumbai on the Chennai set location. Through compositing, which we supervised and executed to fully 3D extension and our custom “DURT” system to degrade the visibly too-clean set build, we produced hundreds of visual effects shots from rig removal, fire augmentation through fire and debris simulations, 3D building and bridge extension and replacements, hoarding and cleanup, all within a matter on months. A very challenging project with the sheer amount of detail needed to recreate the environment but we pulled it off!

How ‘No Time To Die’ Pulled Off James Bond’s Opening Chase – Insider

The opening action sequence of “No Time To Die” finds James Bond racing through the streets of Matera, Italy. Special effects supervisor Chris Corbould, who has worked on 007 classics like “GoldenEye” and “Skyfall,” explains how the crew loaded the Aston Martin DB5 with gadgets, made a pristine vehicle look damaged, and how pouring soda helped cars and motorcycles speed through ancient cobblestone streets.

How Realistic Animatronics Are Made For Movies & TV – Insider

Spectral Motion has been making animatronic puppets for movies and TV shows since 2002. Even if they don’t fully end up in the final shot, they can make for great references for both visual effects artists and the actors in front of the camera. Spectral Motion’s head of animatronics, Mark Setrakian, takes the characters sculpted and painted by the company’s artists and gives them the most realistic movements possible. This has included making giant troll hands compress and handle objects for “Hansel & Gretel: Witch Hunters,” manipulating robotic bits and foam skin to make a wolflike snarl for “Lady in the Water,” and making the Demogorgon’s face petals move on the first season of Netflix’s “Stranger Things.” Advancements in technology allowed Spectral Motion to push the kinds of terrifying movements it gave to the animatronic White Spike puppet who would be acting alongside Chris Pratt and Yvonne Strahovski in “The Tomorrow War.”

How ‘Dune’ Composer Hans Zimmer Created the Oscar-Winning Score – Vanity Fair

“Something I wanted to always do. Invent instruments that don’t exist. Invent sounds that don’t exist.” Hans Zimmer, ‘Dune’ composer, gives his in-depth analysis and insider’s look at how the score was created for Denis Villeneuve’s 2021 film. Dune earned Hans Zimmer an Oscar for Best Original Score at the 2022 Academy Awards.

Why Dune’s Editing Feels Different

Adapting Dune for the screen was a big challenge that pushed Director Denis Villeneuve and Editor Joe Walker, ACE to use a slightly unconventional approach to editing in the film. In this video I breakdown how Walker works within the “montage mode” of editing to tell the film’s story efficiently and powerfully.

Spider-Man – No Way Home – Digital Domain

For the highly-anticipated Sony Pictures and Marvel Studios’ film Spider-Man: No Way Home, Digital Domain VFX Supervisor Scott Edelstein and his team of artists were tasked with digitally creating the Alexander Hamilton Bridge and parts of New York City, along with Spider-Man, Doc Ock and his tentacles, Sandman, Green Goblin and more. The team also created visual effects for the epic Doc Ock and Spider-Man bridge fight along with the battle at Happy’s condo.

In total, Digital Domain contributed over 520 shots, along with over 600 unique assets, including vehicles, full environments, props and more. Our team of artists also created 14 hero character builds and 19 digi-doubles for the film.

The Adam Project – Netflix

The Adam Project’s Zoe Saldaña (Laura) is joined by director Shawn Levy and VFX Supervisor Alessandro Ongaro to break down the best action scenes in the film. Learn behind-the-scenes secrets of the backyard fight with Ryan Reynolds (Big Adam) and the car chase through the forest, along with designing the futuristic look of the Time Jet.

No Time to Die – James Bond’s Opening Scene

The opening action sequence of “No Time To Die” finds James Bond racing through the streets of Matera, Italy. Special effects supervisor Chris Corbould, who has worked on 007 classics like “GoldenEye” and “Skyfall,” explains how the crew loaded the Aston Martin DB5 with gadgets, made a pristine vehicle look damaged, and how pouring soda helped cars and motorcycles speed through ancient cobblestone streets.

Roohi – Redchillies VFX

One of our most prized works in 2020, Roohi was a challenging project, given that it happened in the heart of the pandemic. Thanks to our dedicated and talented team, our work from home model #RCWoho made it possible to achieve our imagined results. The movie is beautifully enhanced with various visual effects. The major one is the facework of Janhvi Kapoor, with protruding veins, multiple eye retinas and a ghastly look to do justice to the character. Also, building the world of Roohi was a delight of its own. With derelict dark forests and mountains, the end result is a wonderful mix of practical and visual effects. Thanks to our colour team at Redchillies.color, everything merged together to look so visually striking! We hope that you enjoy seeing our work. Do follow us on our social handles to stay up to date with our current work.

Dune – Beyond Sand & Spice – DNEG

Nominated for 10 Academy Awards — including ‘Best Visual Effects’ — Denis Villeneuve’s adaptation of Frank Herbert’s iconic 1965 novel has received international acclaim from audiences and critics alike. ‘Dune’ also marks a continuation of DNEG’s creative collaboration with Villeneuve, having previously delivered Oscar and BAFTA-winning VFX as lead VFX partner on his 2017 film, ‘Blade Runner 2049’.

In this DNEG Deep Dive, the Dune dream team shared never-before-shared insights about how visual effects helped create Villeneuve’s immersive cinematic experience. Moderated by well-known VFX and animation journalist Ian Failes, our panel featured Overall VFX Supervisor Paul Lambert, DNEG VFX Executive Producer Janet Yale, DNEG VFX Supervisors Tristan Myles and Brian Connor, and DNEG Animation Director Robyn Luckham.




Dune – Designing the Sandworm

“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 – MPC

“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.

The Batman – Final Trailer

THE BATMAN is an edgy, action-packed thriller that depicts Batman in his early years, struggling to balance rage with righteousness as he investigates a disturbing mystery that has terrorized Gotham. Robert Pattinson delivers a raw, intense portrayal of Batman as a disillusioned, desperate vigilante awakened by the realization that the anger consuming him makes him no better than the ruthless serial killer he’s hunting.

Dune – DNEG

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!

Ghostbusters – Afterlife – Practical Special Effects

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!

Father Stu – Trailer

Mark Wahlberg stars in this upcoming movie, Father Stu, which is based on a true story. Check out the trailer.

When an injury ends his amateur boxing career, Stuart Long (Mark Wahlberg) moves to L.A. dreaming of stardom. While scraping by as a supermarket clerk, he meets Carmen (Teresa Ruiz), a Catholic Sunday school teacher who seems immune to his bad-boy charm. Determined to win her over, the longtime agnostic starts going to church to impress her. But surviving a terrible motorcycle accident leaves him wondering if he can use his second chance to help others find their way, leading to the surprising realization that he is meant to be a Catholic priest. Despite a devastating health crisis and the skepticism of Church officials and his estranged parents (Mel Gibson and Jacki Weaver), Stu pursues his vocation with courage and compassion, inspiring not only those closest to him but countless others along the way.

Father Stu, directed by Rosalind Ross, arrives in theaters on April 15, 2022.

Downton Abbey – A New Era – Trailer

Discover the mystery, picture the possibilities, experience a new era. Watch the new trailer for #DowntonAbbey: A New Era, and experience the motion picture event only in theaters May 20.

From award-winning creator Julian Fellowes comes the motion picture event DOWNTON ABBEY: A NEW ERA. The much-anticipated cinematic return of the global phenomenon reunites the beloved cast as they go on a grand journey to the South of France to uncover the mystery of the Dowager Countess’ newly inherited villa.

American Underdog – Zero VFX

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.

Aline – MPC Film & Episodic

Aline is a French-Canadian drama film, directed by Valérie Lemercier and released in 2021. A fictionalized portrayal of the life of Céline Dion, the film stars Lemercier as “Aline Dieu”, a Canadian singer who rises to international superstardom. Lemercier plays Aline at every stage of her life from childhood through to middle age, with her body and face digitally adjusted for age-appropriateness in post-productio

Around the World in 80 Days – Episode 4 – MPC Film & Episodic

Around the World in 80 Days is an epic journey that takes place over eight 47-minute episodes. Like its main character, the series, created by Ashley Pharoah and Caleb Ranson, will travel the world. It is produced by Slim Film + Television (UK) and Federation Entertainment (FR), as well as by the European Alliance formed by France Télévisions, ZDF (Germany), and RAI (Italy), and a dozen other productions based around the world.

Under the overall supervision of Jean-Louis Autret, and the leadership of VFX producer Delphine Lasserre and VFX supervisor Hugues Namur, MPC Film & Episodic’s teams in Paris and Bangalore worked on nearly 350 VFX shots, creating visual effects to reflect the historical reality of the time and environments.

Shang-Chi and the Legend of the Ten Rings – Weta Digital

Our work features in the epic third act battle of Marvel Studios’ Shang-Chi and the Legend of the Ten Rings. We created the Great Protector dragon and the Dweller-in-Darkness, as well as the army of soul-sucking demons. We were also responsible for the effects for the ten rings and complex water simulations in the realm of Ta Lo.

The Lord of the Rings – WETA Digital

The Lord of the Rings: The Fellowship of the Ring saw many technological breakthroughs for Weta Digital and the VFX industry. It features monumental battles with digital characters, fantastical landscapes and CG creatures created with newly developed, cutting-edge software tools.

Our work on The Lord of the Rings: The Fellowship of the Ring won  the Academy® Award for Best Visual Effects, the BAFTA Award for Best Special Visual Effects, and the AEAF Award for Feature Film VFX.
The Lord of the Rings: The Two Towers saw ongoing technological innovation and the full introduction of Gollum. We made significant advances in character animation and motion capture to create Gollum—one of cinema’s most infamous digital characters.

Our work on The Lord of the Rings: The Two Towers won the Academy Award® for Best Visual Effects, and the BAFTA Award for Best Special Visual Effects.
The Lord of the Rings: The Return of the King is the epic conclusion to The Lord of Rings trilogy, and the result of almost a decade’s worth of creative and technological innovation. It encompasses ground-breaking technology and techniques. We used a multitude of sophisticated visual effects to create landscapes and creatures of unprecedented scale and complexity.

Our work on The Lord of the Rings: The Return of the King won the Academy Award® for Best Visual Effects, and the BAFTA Award for Best Special Visual Effects.

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