Carnival Row – Season 2 – Digital Domain
Our work can be seen primarily in episodes one, two, four and five.
Shadow and Bone – Season 2 – Scanline VFX
Wednesday – MPC
The Last of Us – Season 1 – Digital Domain
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.
Lost in Space – Season 2 – Digital Domain
Carnival Row – Season 2 – Goodbye Kansas
Alice in Borderlands – Season 2 – Digital Frontier Japan
The Old Man – ILM
The Last of Us – Season 1 – RVX
Obi-Wan Kenobi – Hybride Technologies
The Kingdom Exodus – Benuts VFX
Carnival Row – UPP VFX
Stranger Things 4 – Digi Doubles – Rodeo FX
La chica de nieve – Twin Pines
The Lord of the Rings – The Rings of Power – Rising Sun Pictures
1985 – Benuts VFX
Stranger Things 4 – Vecna’s Mindlair – Rodeo FX
The Lord of the Rings – The Rings of Power – DNEG
The Wheel of Time – Season 1 – Union VFX
See – Season 3 – Rising Sun Pictures
Tom Clancy’s Jack Ryan – Season 3 – Goodbye Kansas
Hello Tomorrow! – Brainstorm Digital
Stranger Things 4 – Mindscape – Rodeo FX
Stranger Things 4 – Digidoubles – Rodeo FX
Stranger Things 4 – Vecna – Rodeo FX
Stranger Things 4 – Demomonsters – Rodeo FX
Willow – Image Engine
Lockwood & Co. – Behind The Hauntings
The Lord Of The Rings – The Rings Of Power – Rodeo FX
Love, Death and Robots – Night of the Mini Dead – Rodeo FX
1899 – Season 1 – DNEG
His Dark Materials – Season 3 – BBC
Andor – Season 1 – Rising Sun Pictures
Andor – Hybride
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!
La Part du Feu – The Yard VFX
DOOMSDAY – Main Road Post
Shadow and Bone – Season 1 – Ghost VFX
His Dark Materials – Armoured bear – BBC
García – El Ranchito
Doctor Who Flux – DNEG
See – Season 3 – Twin Pines
Warrior Nun – Season 2 – Haymaker
The Lord of the Rings – The Rings of Power – Outpost VFX
Umbrella Academy – Season 3 – Spin VFX
Le Monde de Demain – Mac Guff
The Sandman – S01E01 – Breaking Down The Breakdown – Rodeo FX
SEE – Season 3 – RVX
The Rings of Power – Season 1 – Cause and FX
The Plague – Season 2 – Twin Pines
She-Hulk – TRIXTER VFX
Sweet Tooth – Zoic Studios
See – Season 3 – Goodbye Kansas Studios
She-Hulk – Attorney at Law – Digital Domain
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
Raised by Wolves – Season 2 – BUF
The Serpent Queen – Season 1 – MPC
The Sandman – Season 1 – Rodeo FX
The Book of Boba Fett – Hybride
Hybride produced an impressive total of 1081 VFX shots for the show, representing the studio’s most considerable workload with Disney.
Babylon Berlin – Season 4 – Rise
Marvel Studios’ She-Hulk: Attorney at Law – Behind the Scenes
See – Season 3 – El Ranchito
The Great – Season 2 – Bluebolt
Notre-Dame la Part du Feu – MPC
Sex Education – Season 3 – Dupe VFX
The Orville – Season 3 – FuseFX
The Orville – New Horizons – FuseFX
Quantum Leap – VFX Legion
Star Trek – Strange New Worlds – Storm Studios
Obi-Wan Kenobi – Hybride
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 Peripheral – Official Teaser Trailer
Pistol – Union VFX
State of Hapiness – UFX
Alma (The Girl in the Mirror) – El Ranchito
The Terminal List – FuseFX
Station Eleven – Pixomondo
Cracow Monsters – PFX
House of the Dragon – Behind The Scenes
Perry Mason – Season 1 – Pixomondo
Stranger Things – Season 4 – ILP Breakdown
The Boys – Season 3 – MPC
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.
Stranger Things – Season 4 – ILP
HALO – Season 1 – Rodeo FX
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.
The Sandman – Untold Studios
Stranger Things – Season 4 – DNEG
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
The Sandman – One of Us
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
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
The Witcher – Season 2 – Platige Image
Moon Knight – Behind The VFX Scenes
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.
Moon Knight – Union Visual Effects
The Boys – Season 3 – MPC
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!
Star Trek – Picard – Season 2 – Outpost VFX
Ms. Marvel – Digital Domain
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.