Carnival Row – Season 2 – Digital Domain

From fantastical characters to environments and CG creatures, our award-winning VFX team created visual effects for Carnival Row’s second season in collaboration with Amazon. Our artists built the photorealistic Sparas from the ground up, using a combination of practical effects and digidoubles. The team also created the entire train chase sequence in episode one, going so far as to build an entire CG landscape, complete with geographical markers. They also heavily researched flight and movement to create the fairy wings, then drew and animated them.

Our work can be seen primarily in episodes one, two, four and five.

Wednesday – MPC

Brought to us by MGM Television and Netflix, we experienced mayhem, mystery and murder in Tim Burton’s Wednesday. With the help of our MPC team’s eerily “Frankenstein-esque” VFX, this supernaturally-infused series spotlights the sleuthing daughter from the iconic Addams family.

The Last of Us – Season 1 – Digital Domain

For Episode 4 of The Last of Us, Digital Domain Visual Effects Supervisor Mitch Drain and his team were tasked with creating the environment for the post-apocalyptic city. The team added overgrowth, decay and debris along with abandoned cars, FedEx trucks, and military vehicles, and more to truly set the scene.

For the season finale, The VFX team wrapped up its work creating a backdrop of CG environments, as Joel and Ellie drive pass a digitally created sign that reads “Welcome to Wyoming,” signifying the end and beginning of their journey.

Lockwood & Co. – Behind The Hauntings

In London, where the most gifted teenage ghost-hunters venture nightly into perilous combat with deadly spirits, amidst the many corporate, adult-run agencies, one stands alone: independent of any commercial imperative or adult supervision – a tiny startup, run by two teenage boys and a newly arrived, supremely psychically gifted girl, a renegade trio destined to unravel a mystery that will change the course of history: Lockwood & Co.

Andor – Hybride

The series explores a new perspective from the Star Wars galaxy, focusing on Cassian Andor’s journey to discover the difference he can make. It’s an era filled with danger, deception and intrigue where Cassian will embark on the path that is destined to turn him into a rebel hero.

Hybride produced a total of 714 shots for 67 sequences of the show which premiered on Disney+ on September 21, 2022. The series received critical acclaim, in particular for its writing and the darker, more mature tone compared to previous Star Wars projects.

We’re proud to present a VFX breakdown of our work for the series, we hope you enjoy!

Umbrella Academy – Season 3 – Spin VFX

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.

She-Hulk – Attorney at Law – Digital Domain

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

The Orville – Season 3 – FuseFX

THIS IS UNREAL! The FuseFX team utilized Unreal Engine for episode 308 of ‘The Orville.’ The sequences are beautiful and allowed for the team to be more nimble, move together as one, save production time and produce stellar results. We’re just scratching the surface of our Unreal capabilities for our clients. #FuseFX #UnrealEngine #TheOrville #VFX #EpicGames

Obi-Wan Kenobi – Hybride

In the Obi-Wan Kenobi limited series, which premiered on Disney+ May 27, 2022, storytellers explore a previously unseen era in the character’s life – nearly 10 years after the fall of the Jedi with Order 66 but still almost a decade from meeting his fate aboard the Death Star.

Hybride delivered 440 VFX shots for the show, which drew the biggest premiere for any program set in the Star Wars universe, according to data gathered by Samba TV.

Here’s a behind-the-scenes look at Hybride’s work for the series, we hope you enjoy!

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.

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.

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.

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.

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.

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.

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.

Ms. Marvel – Digital Domain

For the Marvel Studios hit series “Ms. Marvel,” Digital Domain VFX Supervisor Aladino Debert and his talented team of artists successfully brought the comic book hero and her superpowers to life. Building on the new origins, artists at Digital Domain designed a unique look for Kamala Khan’s powers featuring a blue-ish purple crystalline manifestation that radiated energy, highlighted by an internal luminescence, created in Houdini.

The team also created several environments including the crowded train station set on the eve of the infamous Partition of India, creating several digital trains, crowds in period-appropriate clothing, and smoke to bring it all to life. Additionally, Aladino and his team were responsible for the fight sequence in the final episode. For this sequence, the team developed the look for Kamran’s damaging powers, Ms. Marvel’s giant, hard-light hands, digital debris, partial digidoubles of Kamran and Ms. Marvel, and more.

The Digital Domain team was also responsible for the iconic closing scene, which appeared in the series’ poster where Ms. Marvel sits on a lamppost and looks out over the city as her hair blows in the wind.


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