Halo – MPC

MPC helped bring the much-loved Halo video game to life for fans and new audiences across world, via Paramount+’s new TV series adaptation, which was released on 24th March 2022. Dramatizing an epic 26th-century conflict between humanity and an alien threat known as the Covenant, Halo the series weaves personal stories with a large dose of action, adventure, and a richly imagined vision of the future.

Bridgerton – Season 2 – One of Us

One of Us studio was the primary VFX vendor for Shondaland’s Netflix series, Bridgerton Series 2. The second season of Bridgerton, focuses on how Viscount Anthony Bridgerton (Jonathan Bailey) sets about selecting the best woman in town. One of Us, worked through pre-production, on-set and post production. The 250 VFX shots include complex creature work, alongside the familiar extravagant environments.

Foundation – Season 1 – Spin VFX

Based on the award-winning novels by Issac Asimov, Foundation chronicles a band of exiles on their monumental journey to save humanity and rebuild civilization amid the fall of the Galactic Empire.

VFX Supervisor Jeff Campbell, Supervising Producer Carrie Richardson, and VFX Producer Aakashi Patolawala brought this vision to life through earth-shattering explosions, detailed futuristic aircrafts, and out of the world views.

Foundation won 2 awards from 3 nominations at VES 2022, including the award for “Outstanding Visual Effects in a Photoreal Episode” and “Outstanding Effects Simulations in an Episode, Commercial, or Real-Time Project”.

Bridgerton – Season 2 – One of Us

As per Julia Quinn’s bestselling novels, which deal with each of the eight Bridgerton siblings in turn, the second season of Shondaland’s Netflix series, Bridgerton, focuses on how Viscount Anthony Bridgerton (Jonathan Bailey) sets about selecting the best woman in town.

VFX Studio, One of Us, took part in this project as a continuation of the first instalment, working through pre-production, on-set and post production. The 250 VFX shots include complex creature work, alongside the familiar extravagant environments.

Raised by Wolves – Season 2 – Spin VFX

Produced by science fiction director Ridley Scott, Raised By Wolves is a sci-fi thriller that visualizes a dystopian future where androids and humans are at war over opposing religious beliefs.

VFX Supervisor Mo Sobhy and Executive Producer George Macri visualized and created detailed alien creatures and a life-like human baby in this emotional story about the volcanic force of parental love.

Vikings – Valhalla – MPC

MPC returns to the world of Vikings – delivering epic VFX for the new original series Vikings.

A 600+ strong global team led by VFX Supervisor Ben Mossman and VFX producer Vishal Rustgi delivered over 800 shots, working on a host of environments, water simulations, and bloody battle scenes for Netflix’s new acclaimed drama.

What 5 Tom Holland Stunts Looked Like Behind The Scenes

When watching 2022’s “Spider-Man: No Way Home” or “Uncharted,” viewers might leave the theater wondering, “Does Tom Holland do his own stunts?” The answer is yes, often. The actor does work with stunt doubles, but his gymnast and dancing background gives him an advantage and helps him to perform aspects of his own stunts. This includes pole-vaulting in 2019’s “Spider-Man: Far From Home,” swinging through the streets of New York City with Zendaya in “Spider-Man: No Way Home,” and climbing up a replica of the Washington Monument in 2017’s “Spider-Man: Homecoming.” Here’s a look at 5 risky stunts the actor performed himself, including what he called the most difficult stunt of his career.

How Fake Crowds Are Made For Movies And TV – Insider

Using completely real crowds in Hollywood productions can be a huge logistical challenge. That’s why movies and TV shows have found many ways to make crowds look bigger than they are. Older movies like “Ben-Hur” used matte paintings, while movies like “Glory Road” have used inflatable extras. Today, duplication and CGI are the most frequently used techniques. On the Apple TV series “Ted Lasso,” Barnstorm VFX had the daunting challenge of filling a 26,000-seat stadium using a mix of real and fake people. As Barnstorm VFX supervisor Lawson Deming told us, it’s the mix of the two that best convinces the viewer.

Hawkeye – Season 1 – Weta Digital

A key feature of our work on Marvel Studios’ Hawkeye is the high-speed car chase where Hawkeye and his sidekick are pursued across the streets of Brooklyn, through a Christmas tree sales yard, and onto the Manhattan Bridge. Using a fully digital model of the bridge combined with matte paintings and CG set extensions, we transformed plates shot on location into the familiar skylines of New York. See the highlights on our VFX sizzle reel.

Hawkeye – ILM

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.

The Witcher – Season 2 – Basilisk – Cinesite

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/

Around the World in 80 Days – Episode 3 – 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.

The Stand – Season 1

THE STAND is Stephen King’s apocalyptic vision of a world decimated by plague and embroiled in an elemental struggle between good and evil. The fate of mankind rests on the frail shoulders of the 108-year-old Mother Abagail and a handful of survivors. Their worst nightmares are embodied in a man with a lethal smile and unspeakable powers: Randall Flagg, the Dark Man.

Midnight Mass – Season 1 – Rise

RISE VFX supervisor Benjamin Burr and his team are no strangers to the Steven King Universe. In 2019 he and his team helped recreate the environments from The Shining for Mike Flanagan’s Doctor Sleep. Last year Mike directed a Netflix mini-series called Midnight Mass in which the inhabitants of an island feel rejuvenated after going to church – but RISE helped them feel the burn when exposed to daylight.

Around the World in 80 Days – Episode 2 – MPC Film

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.

WandaVision – Season 1 – FX Simulation – ILM

Go Behind the Magic for a glimpse at the FX Simulation work that went into Marvel Studios’ “WandaVision”, streaming now on Disney+.

Marvel Studios’ “WandaVision” blends the style of classic sitcoms with the Marvel Cinematic Universe in which Wanda Maximoff (Elizabeth Olsen) and Vision (Paul Bettany)—two super-powered beings living their ideal suburban lives—begin to suspect that everything is not as it seems.

WandaVision – Season 1 – Compositing – ILM

To celebrate the one-year anniversary of Marvel Studios’ “WandaVision”, we’re thrilled to show you a glimpse at the Compositing work that went into the series. All episodes are streaming now on Disney+.

Marvel Studios’ “WandaVision” blends the style of classic sitcoms with the Marvel Cinematic Universe in which Wanda Maximoff (Elizabeth Olsen) and Vision (Paul Bettany)—two super-powered beings living their ideal suburban lives—begin to suspect that everything is not as it seems.

Hawkeye – Season 1

All of the trick arrows up close and personal! Greg Steele, VFX Supervisor of Marvel Studios’ Hawkeye talks to Lorraine Cink about how they created all of the arrows in the show, and how they work with the Stunt and Special Effects department to make the show come together.

Meet Jolt, who plays Lucky the Pizza Dog!

Around The World in 80 Days – Season 1 – MPC

Around the World in 80 Days is an epic journey that takes place over eight 47-minute episodes!

More info: https://www.mpcepisodic.com/news/mpc-…

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.

Around the World in 80 Days is an adaptation of Jules Verne’s famous novel that tells the story of Phileas Fogg’s (David Tennant) crazy challenge: to circumnavigate the globe in eighty days. He will need all the resilience he can muster and the assistance of quick-witted Frenchman, Passepartout (Ibrahim Koma). Joining them on the journey will be Abigail Fix (Leonie Benesch), the journalist who came up with the whole crazy idea.

How “His Dark Materials” Used Puppets And CGI To Create Realistic Animals

Award-winning VFX company Framestore produced a number of daemons and polar bears for the HBO/BBC series “His Dark Materials.” The project was overseen by senior effects designer Russell Dodgson. 

The team worked alongside studio Painting Practice to cast many of the creatures in the series, which were then brought to life by Puppetry legend William Todd-Jones. 

For close-ups, some of the puppets like Lyra’s daemon Pan, were sculpted heads. Other slinky-body styles of puppet were used for quadrupedal or bipedal animals. Some “flappy” puppets were used for daemons that were in flight or had to land on actors’ arms.

When actors needed to demonstrate the weight of daemons, the team made gray furry cushions called bucks. These had weight and shape to make it look like actors were holding daemons or pressing their face to them.  

For the polar bears, a series of large rigs were made. There was the “basher bear” to ram into stunt people and push actors to the ground, a riding rig for Dafne Keen (Lyra) to sit on, a backpack rig for her to get on top of someone’s shoulders, and a four-legged fiberglass standing puppet to show a polar bear’s height. The team also used a “couch bear,” which was a gray buck to lean against. 

Even though the animals look incredibly real, the only “animal actor” on set belonged to Ariyon Bakare’s Lord Boreal and is played by an actual snake.

We caught up with Russell at Framestore in London to explain the process.

War of the Worlds – Season 2 – Vine FX

We’re thrilled to have worked alongside Urban Myth Films as the sole vendor once again.

War of the Worlds Season 2 was the first high-end scripted TV drama to embark on production under Covid-restricted conditions in 2020. Over an eight-month period, Vine FX delivered over 500 shots, with nearly 200 involving 3D elements. Key tasks included the full creation of a CG alien planet environment, adding spaceships across the streets of London as well as building the ship’s interior. All artists and the production team operated remotely throughout the project.

The Mandalorian – Season 1 – Creating the Razor Crest – ILM

Join us as we journey behind the scenes of the Emmy™ Award-winning visual effects behind the first season of The Mandalorian. We’ll pull back the curtain on one of our favorite bounty hunter’s ship, the infamous Razor Crest and look at the distinctive former military ship from its initial concept design in Doug Chiang’s Lucasfilm art department through to ILM artists building the ship in the digital realm and as a practical miniature for filming. We’ll also look at the parallel development of the custom motion control camera system created by ILM Visual Effects Supervisor, John Knoll to allow for the first motion control shots to film at ILM in 15 years. We hope you enjoy this look ‘Inside ILM’.

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