InterviewsEmilia Prez: Cdric Fayolle (Production VFX Supervisor) with the teams of MPC ParisBy Vincent Frei - 21/11/2024 As part of the production of the visual effects for the film Emilia Prez, several experts contributed to the delivery of 335 VFX shots. Cdric Fayolle, Production VFX Supervisor, oversaw the overall coordination of the project, and within MPC Paris, Rodolphe Zirah, VFX Supervisor, Christophe Tchook Courgeau, Environments Supervisor, Lise Fischer, 2D Supervisor, and Yann Nivet, VFX Producer, worked together to create and integrate the digital elements. Their contributions ensured that the entire process ran smoothly, from conception to completion of the visual effects.What was it like working with director Jacques Audiard?Cdric Fayolle: This is the 5th film Ive made with Jacques Audiard. And Im lucky enough to be one of the people he contacts very early on when he starts a project. In this case, for example, he started talking to me about it at the end of 2019, with a treatment of around thirty pages. He wanted to do an opera.What motivated the decision to shoot most of the sets against a bluescreen?Cdric: The form of the film was the subject of a lot of discussion. First there was this opera, so there was a scenic dimension that we had difficulty grasping. Then we went to Mexico for location scouting and there we discovered some magnificent and inspiring natural settings. But Jacques really wanted to create a world around the characters, to have control over everything: the set, the lighting, the weather. So we had to rethink every scene, sometimes taking inspiration from our location scouting.What were the main technical challenges involved in shooting the film against a bluescreen?Cdric: Of course, there were bluescreens on every set, but one of the big difficulties when you shoot in a studio is the way you manage movement. How the characters get to the sets so that it doesnt look like a series of little scenes. So we had to do entirely CG shots of the car rolling, like the final sequence, which was a big job of 3D staging.Rodolphe Zirah: Bluescreens in the studio on exterior sets are always a challenge. Its clear to see that in the studio, the amount built for an exterior set is minimal, so we had to create a large part of the sets in CG. The choice of techniques made with Cdric, between full CG sets, CG extension sets and matte painting, was crucial to the films narrative.Christophe Tchook Courgeau: One of the difficulties lay in the continuity of the light, which we had to extrapolate to cover surfaces that were not planned for the shoot, and the continuity of the built sets, which we had to extend or erase so that the result was invisible.Lise Fischer: Generally speaking, bluescreens in the studio should be avoided for inlays for exteriors, because its very difficult to light a studio like a sun or a moon. Fortunately, the artistic freedom of the project allowed us to create stylised atmospheres that fitted in perfectly with the studios aesthetic.How did you ensure consistency between the physical elements on set and the digital extensions of the sets?Cdric: What was great about this film was that Jacques gave us a lot of freedom in creating these digital sets. So while following the guidelines imposed by the set design, we were able to offer him our own inspirations and desires. He was very receptive.Rodolphe: Technically, we collect as much information as possible on the shoot, we use 3D scans (LIDAR) of the set, HDR for the lighting, and photogrammetry of objects on the set to ensure that the aesthetic of the elements built by the set designer and our digital elements are consistent. We immerse ourselves in all the artistic directions of the set and props, as well as the lighting director, and we try to work in continuity with the choices made during the shoot.Tchook: First of all, we have to get away from the bluescreen by creating a realistic environment adapted to the real set. We go through a concept stage that allows us to narrow down the field of possibilities, and then 3D models that allow us to extrapolate the concepts and give them a reality in space. Once weve validated the manufacturing idea, we need to analyse the camera, the focal length and the direction of the light(s) in more detail. Finally, we make each element separately to a definition that is proportional to its distance from the camera, we give them a texture, and we place them in a scene that we light with precision. The result of the digital set design work is then passed to the compositing department, which assembles all the manufactured elements with those from the shoot and brings the mix to life.Can you explain the planning process to ensure that the visual effects fit in perfectly with the scenes shot on the bluescreen?Rodolphe: I think the main step is to cover the shoot properly, to bring back as many elements as possible that will enable us to be as accurate as possible with regard to scale, light and materials. Then you have to help the crews during the shoot to ensure that the blue backgrounds are evenly lit to avoid variations in light and shadow, which complicate keying. Finally, make sure that camera movements are properly tracked. If the camera moves, the movements have to be synchronised with the effects added in post-production to keep everything realistic. So we placed tracking markers on the blue background to make it easier to track movements.Lise: As far as compositing is concerned, we had to anticipate the missing blue screens. Because of the size of the set, several areas of the studio were not covered by the bluescreen. So we had to plan ahead for the extensive rotoscoping work that was needed to produce the shots properly.How did you work with the set designer to create realistic virtual environments?Cdric: In preparation, I had a lot of discussions with the production designer, Emmanuelle Duplay, to determine the minimum and maximum that needed to be built. Each set has its own specific characteristics, so we had to study them carefully so that the director and the actors had enough concrete playing space and enough bluescreen openings to be able to extend and give the illusion of Mexico.Rodolphe: For me, the main thing was to convince people of what we were capable of doing in post-production. Cdric and I worked with her on certain scenes to help her imagine her sets and find out what she absolutely had to build for the shoot. In particular, with the MPC teams, we produced 3D previews of some sets before shooting.What were the main challenges in terms of luminosity and lighting on the blue background to maintain visual coherence?Cdric: When you make films with so many bluescreens, its great to have a technically experienced cinematographer. Here, Paul Guilhaume was brilliant with his team. They knew how to set the specific lights for the bluescreen with surgical precision.Rodolphe: Using dedicated lights to illuminate the background separately from the actors and set elements. Carefully control the angles and intensity of the light to reduce shadows on the bluescreen. Adjust the distance between the actors and the background, using specific lighting to minimise blue spills. Paul Guilhaume and his team did a marvellous job here.Tchook: This is one of the big challenges of shooting, where the cinematographer has to create a sufficiently bright bluescreen to allow the extraction of the elements of the shoot that we want to keep (actors/set pieces), and above all create a lighting atmosphere that allows the digital extension to be credible. We need to be able to make the viewer believe that, when we create the digital set and mix it with the shooting elements, the blue background and the studio shooting elements never existed. One of the big difficulties lies in the reflective parts of the shot elements, mainly the cars, where there are a lot of unwanted parts that you want to replace. One of the only solutions is to remodel a car, often identically, to generate reflections that are consistent with the digitally produced set and the real set.How did you manage the transitions between the real and digital elements so that they remained invisible to the viewer?Tchook: First of all, we isolated the elements we wanted to keep, such as the actors and certain elements of the set. Then we studied the movements of the actors and cameras to determine where the digital set could be integrated. We then created virtual elements capable of interacting in light with the real objects, for example by adding shadows between a shooting element and a piece of digital scenery. If the cinematographer had designed a location with strong light on an object, we would model a street lamp positioned in the space, as if it were really lighting the set. The final touches are made in compositing, where everything is put together and fine-tuned.Rodolphe: The integration of the digital elements takes place at the compositing stage. Its a question of understanding the image being shot and knowing the technical aspects of that image type of camera, sensor, lens, focal length so that we can reproduce these key components in the 3D renderings.Lise: Compositing is all about integrating a digital element into a shot without it being visible. First of all, theres the shot that contains the so-called real elements, which we call the master. This master provides the basis for all the technical and artistic aspects of the image that we need to reproduce exactly during our compositing work. These aspects include first and foremost light and chromatics, but there is also the whole organic aspect of the image that comes from the cameras optics, focal length and sensor. Grain, chromatic aberrations, sharpness, defocus (optical blur) and the diffusion of highlights are all parameters that need to be respected and reproduced on the digital elements in order to integrate them into the shot.Were there times when you had to adapt the digital sets in post-production to suit the actors performances on set?Cdric: They were perfect and for Zo Saldana it wasnt a new discovery, she was very comfortable with all these bluescreens.Tchook: No, the digital set is used to build around the actors to frame them and highlight them without stifling their performance. Most of the time we find a solution by adapting the frame.Lise: In compositing, were always looking for a form of truth, so I always look at a shot in the context of its narrative. As the actors performance is at the heart of the story, we quite often have to adapt a digital set to serve the narrative intention or, on the contrary, to avoid distracting from the story. This is the case, for example, with screen inlays, where we have to adapt the digital set, such as a web interface, to the action of the actor/actress.How did you anticipate the challenges of tracking camera movements in predominantly digital environments?Cdric: On some sets, we used LIDAR to help with tracking, because we knew that these sets would be filmed with hand-held cameras and long lenses So we had to anticipate any technical problems.Rodolphe: In order to manage the tracking of camera movements as effectively as possible, we scanned the sets (LIDAR) to help the tracking teams get their bearings and find their way around sequences that were often shot hand-held. We took measurements on the cameras as they were being shot, such as height and distance from the background.What were the most complicated aspects of creating the digital sets to make them look natural?Tchook: Creating a digital set that looks natural is a challenge. Today, we can do almost anything were asked to, which means we can explore any direction and accentuate any aspect of the set. However, without good control and a lack of experience, its easy to go overboard. The key to keeping the setting natural is to be able to observe accurately. We spend a lot of time observing and analysing the weather and light conditions, looking for shots taken in similar conditions. We make extensive use of the colour palette present in the shot we have to fake or in the sequence in progress to create visual coherence.Lise: Once again, you have to feed off all the real material shot and understand the directors vision. To make it look natural, you have to blend in with the aesthetic intention that was in place before the VFX was used, and leave nothing to chance. Can you describe a situation where the integration of digital sets required unexpected creative adjustments?Tchook: The 004 sequence where Zo Saldana walks down the street with the crowd behind her required a lot of creative and technical adjustments. We started from an idea where the set would be a theatre stage with curtains falling to reveal various parts of the set, with the idea of a street in Mexico on a summer evening. We also had to recreate the ground on the set by making it more uneven.Were there any unexpected technical or creative challenges during production?Cdric: The outside of Emilias house had to be a model. Which we filmed. But in the end, for various reasons, it didnt work when it came to editing. So we had to reinvent a house. And the night shot where we approach the house with a view of the whole of Mexico City is entirely CG. For me, its one of the most beautiful shots in the film.Lise: A new sequence, a new shot, is always a new creative and technical challenge. The unexpected is rarer, because in reality you expect everything, all the time, and thats what makes the compositing work so varied. With Emilia Perez, its fair to say that the project was unexpected in the broadest sense.Were there any memorable moments or scenes in the film that you found particularly rewarding or difficult to work on from a visual effects point of view?Cdric: For me, it was the last car sequence. We only filmed the interior shots of the car with the actors. The rest we had to invent entirely. We came up with pre-visualisations, suggested shots and set-ups. We had quite a lot of freedom and desire. It was tough, but were proud of the result.Rodolphe: The end sequence in full 3D was one of the hardest to make. At first, it was hard to imagine what the final result would look like, because there were so many technical stages to go through. We had to do a lot of reworking to find the right balance between what we wanted to do and what was possible. Even though there were moments of doubt, we managed to put everything together in a coherent way. Seeing the final result, after all that work, was really satisfying.Lise: The full CGI scenes (the accident sequence and Emilias house) are always breathtaking. As we dont have a master, we have to imagine, build and shape the images so that they give the illusion of having been filmed. Its not easy, but when it works, its rewarding indeed.Can you explain how you integrated the digital visual elements in Emilia Perez to create a coherent and immersive atmosphere, and what specific challenges did you face when compositing the film?Lise: Apart from the aspects described above, we had a great deal of freedom in compositing to invent the moods of the shots. Usually, the master serves as the truth and under no circumstances do we interfere with the light or colours of a shot. On Emilia Perez, in certain sequences we completely modified and sculpted the light to create the most immersive atmosphere possible. These decisions were taken in a common dialogue between the VFX supervisor, the director, the cinematographer and the colourist.Looking back, what aspects of the visual effects are you most proud of?Tchook: Im very proud of the work of my team, who produced 70 shots in a DMP environment or on a digital set. In particular the first sequences where the lawyer comes out of the convenience store and the kidnap sequence. We also worked on the scene where Selena Gomez returns home, adjusting the set and lighting tones. And for the Taqueria sequence, we made a number of adjustments to reinforce the Mexican atmosphere.Yann Nivet: When visual effects add value to an existing set: the Taqueria. Also, when it adds a narrative element and gives a mystical dimension to the film: the smoke sequence. Certain aesthetic shots: hospital topshot + Swiss matte.Lise: Creating visual effects is first and foremost a great team effort, and Im especially proud of the huge amount of work done by all the teams. All the streets of Mexico City are alive and expressive its a real success! Im also very proud of the sets, which we were able to enhance and transcend thanks to the visual effects. A very good example is the Taqueria: initially shot in a quarry in France, it looked nothing like a Mexican desert. The work we did on this sequence totally changed the initial atmosphere and transformed this key sequence of the film.Rodolphe: Looking back, Im especially proud of the Full CG ending sequence. It was an important moment in the film and we really had to hook the audience. The work of the MPC Paris teams and the collaboration with Les Artizans were super important in achieving this challenge. Thanks to them, we were able to create an immersive and visually striking scene. Seeing the final result and the positive feedback after all that work is really gratifying.How long have you been working on this film?Yann: August 2023 May 2024Tchook: August 2023 April 2024Lise: The work on Emilia Perez took over 8 months in compositing. We started in September 2023 and worked until the end of April 2024 to finalise the film before its first screening in the official selection at the Cannes Film Festival.Whats the VFX shots count?Yann: 335 shots finally delivered (at least thirty shots done and cut during editing).A big thanks for your time.WANT TO KNOW MORE?MPC: Dedicated page about Emilia Prez on MPC website. Vincent Frei The Art of VFX 2024

Breakdown & ShowreelsInsomnia: VFX Breakdown by BlueBoltBy Vincent Frei - 20/11/2024 Insomnia brings Sarah Pinboroughs 2022 novel to life thanks to the invisible visual effects by the London-based studio BlueBolt. Witness chilling nightmares and a hauntingly beautiful visual world that deepens the suspense of this British thriller series!WANT TO KNOW MORE?BlueBolt: Dedicated page about Insomnia on BlueBolt website. Vincent Frei The Art of VFX 2024

Movie & Games TrailersAlien: EarthBy Vincent Frei - 20/11/2024 Before the stars became a battleground, the terror began on Earth. Witness the origins of the nightmare. Alien: Earth the story begins three decades before Ripleys fight for survival!The Production VFX Supervisor is Jeffrey Okun.The Production VFX Producer is James Ledwell.Director: Noah HawleyRelease Date: Summer 2025 (Hulu) Vincent Frei The Art of VFX 2024

Breakdown & ShowreelsThe Lord of the Rings: The Rings of Power Season 2: VFX Breakdown by Outpost VFXBy Vincent Frei - 19/11/2024 The second season of The Rings of Power showcases the work crafted by Outpost VFX across various visual effects, including continuing the story of the ring-forging from Season 1, improving expansive environments, simulating large FX, and adding depth to fight sequence action!WANT TO KNOW MORE?Outpost VFX: Dedicated page about The Lord of the Rings: The Rings of Power Season 2 on Outpost VFX website.WATCH IT ON Vincent Frei The Art of VFX 2024

Meet the man who turns the jungle into his playground: Kraven the Hunter! Watch this featurette for a glimpse into the ruthless skills and primal force of the MCUs most dangerous hunter!The VFX are made by:Image Engine (VFX Supervisor: Martyn Moose Culpitt)MPC (VFX Supervisor: Michele Alessi)Rodeo FX (VFX Supervisor: Mai-Ling Dydo)Crafty Apes (VFX Supervisor: Dave Morley)Distillery VFX (VFX Supervisor: Greg Kegel)The Production VFX Supervisor is Richard R. Hoover.The Production Additional VFX Supervisor is Mag Sarnowska.The Production VFX Producer is Geoff Anderson.Director: J.C. ChandorRelease Date: December 13, 2024 (USA) Vincent Frei The Art of VFX 2023The post Kraven the Hunter appeared first on The Art of VFX.

Movie & Games TrailersHow to Train Your DragonBy Vincent Frei - 19/11/2024 The skies of Berk are calling! Watch the How to Train Your Dragon live-action trailer and witness the beloved story come to life in a breathtaking new way. Are you ready to meet Toothless again?The VFX are made by:Framestore (VFX Supervisors: Franois Lambert, Andy Kind and Glenn Melenhorst)The Production VFX Supervisor is Christian Manz.The Production VFX Producer is Chris Raimo.Director: Dean DeBloisRelease Date: June 13, 2025 (USA) Vincent Frei The Art of VFX 2024

Back in 2012, John Moffat shared insights into DNEGs visual effects for Snow White and the Huntsman. Since then, he has overseen the visual effects on a wide range of shows, including Life, The 15:17 to Paris, Wonder Woman 1984, and Secret Invasion.Since starting her visual effects career at Tippett Studio in 2003, Aharon Bourland has been involved in the creation of visual effects for various films such as After Earth, Avengers: Infinity War, Ghostbusters: Afterlife, and The Matrix Resurrections.How was the collaboration with Director Kelly Marcel?John Moffatt // Kelly and I got on really well from the start of the show. Kelly is super talented, clear about her direction. She is also really collaborative and happy to listen to ideas and suggestions for how something may work. Through all of the stages of the movies production we discussed ideas, reviewed concept material, and iterated on shots and assets. I really love working with Kelly.AharonBourland // Working with Kelly Marcel was such a creative and open experience. She really encouraged us to bring depth to the characters. With her background in writing, her focus was always on the story and how our characters could really add to it. One of my favorite examples is how she encouraged me to keep building up the character of Lasher. She started out as a small role, but by the end, she became one of the most memorable parts of the film!John, what fresh ideas did you bring to the Venom world, and Aharon, how did you help integrate those with the established visual style from your past experience?John Moffatt // Im not sure that there are many fresh ideas, I think most good ideas are simple and its about how we as a group implement those ideas. One of things that we had to do on this movie was see Venom in the daylight. Something that had not been done in the previous two movies. I was very keen to test that early on the production and we did that with a good degree of success. Venom has not really got any Diffuse component he is pretty much all spec and reflection so it was an exercise that required a fair bit of iteration before we landed on something that we all liked. In terms of ideas, and keeping things simple I try to have clarity with the Director in terms of what they want and then look to give them as much time as possible to evolve the work as we move through the production.Aharon, John Moffatt joins you as VFX supervisor on this one. How did you integrate his contributions with the established visual style from your past experience?AharonBourland // John and I have a long history of working together, and our skills really complement each other. He comes from a compositing background and has an incredible eye for color and composition, while I lean more toward animation and FX. We each brought our strengths to the table to take Venom to the next level for this film.How did you organize the work between you two and with your VFX Producer?John Moffatt // I brought on Aharon Bourland as I think she is a fantastic talent and I love working with her. David Lee was our DNEG Supe and we also worked with Paul Franklin as we have known each other for a long time. At ILM, Simone Coco headed up the team. Greg Baxter was our Production side Producer.AharonBourland // We divided up the VFX work by vendor. I was responsible for ILM, Digital Domain (DD), and Instinctual, while John handled DNEG and Territory Studio. After I came on, I also took care of the Post Vis with The Third Floor. Greg Baxter was our Producer across all the vendors, and Mickael Bec Velazquez worked alongside him as his Associate Producer. It was a smooth system that helped keep everything running efficiently!What is the your role on set and how do you work with other departments?John Moffatt // I enjoy being on set working with the team. My role is to try and be part of the team and shoot the best possible material for the movie. With a specific eye towards how will the material we are shooting work for vfx.AharonBourland // Before the actual shoot, we collaborate with all the departments to figure out what elements will be shot and what well need to cover. On set, our main job is working with the directorsKelly Marcel for the main unit and Brian Smrz for second unitto help everyone understand how the VFX will be integrated into the footage were shooting. It can get pretty complex, especially when were dealing with animated characters that dont exist in the real world. I often find myself acting out scenes on the day so people can better visualize whats going to happen. Sometimes, Ill do quick drawings over stills to help make things clearer. I also work closely with the camera team to make sure we capture enough clean plates and alternate angles, so we have everything we need to support the work as it evolves in post-production.How did you choose the various vendors and split the work amongst them?John Moffatt // We decided to use DNEG because they had a history with the other two movies, I also worked there for almost two decades and had a good relationship. We chose to work with ILM because they are fantastic and we also had a great relationship with some of the key folk in the team they put forward for the job. We worked with Rodeo FX, because I had worked with them before and they had been great partners and we also worked with DD.We decided to put the entire third act with one vendor and the rest with another but as things developed as the work changed shape during production. Basically ILM did the River and the Third Act, DNEG did most of the rest of it, Rodeo did the Beach Flashback and DD did the Knull work.AharonBourland // We chose to work with DNEG because they had a solid history with the previous two movies, and me and john had work there for many years, so we had a great relationships built on.ILM was an easy choice because theyre fantastic, and we also had strong connections with some of the key people on their team for this project. We worked with Rodeo because john had partnered with them before, and they were great to work with, and we also collaborated with DD.How has the visual representation of Venom evolved across the three films in the saga? What new techniques were used in the latest chapter?John Moffatt // We wanted to give Venom the ability to give as emotional performance as possible, so we developed new face shapes for him. We tweaked the shape of Wraith Venoms head to make it less flat across the top. But really the main evolution was in the daylight look dev.AharonBourland // The look of Venom really evolved naturally over the three films. The first movie was kind of like a prototypewe were figuring out the basic forms, like the slug, wraith, and full symbiote. Since the whole movie took place at night, we mostly focused on how his skin reflected light. In the second movie, we focused more on refining Venoms animation and performance. A lot of the breakthroughs were actually with Carnage and how we used procedural animation to have him grow and even envelope a church.For the third and final chapter, we added a lot more detail to Venoms shading, especially so he would look better in daylight. We also had to upgrade the face animation system so Venom could express a wider range of emotions, which was really important for showing his relationship with Eddie. Plus, Venom got to take on some new forms in this moviehe became a fish, a frog, and even a horse! But even with these new looks, we made sure each one still felt like Venom. And we took everything we learned from the procedural animation and geometry generation from the big merge fight in the first film and Carnages transformations in the second film to create the massive final form, the Venomphage, which was a mix of Venom and five Xenophages.How did you ensure that each symbiote in this film had a unique visual identity, from their colors to the way they interact with the environment?AharonBourland // Each symbiote started with research into their comic book versions, and from there, we evolved those into hero versions that fit the story. It was really important that each symbiote had a unique set of abilities that complemented the others and helped move the story forward. For example, Lavas red and yellow fire whip worked well with the tendril cage that Animal/Tendril used to restrain the Xenophage. Dr. Paynes symbiote was also tied thematically to her character. Her life was changed by a lightning bolt, and when she bonded with the symbiote, it gave her lightning-like abilities, bringing her story full circle.What challenges did you face in portraying the complex relationship between Venom and Eddie Brock, visually speaking, in this third film?John Moffatt // I had a good relationship with Tom (Hardy) and we discussed how he wanted to do things, Kelly and Tom are really close and so we let Toms performance drive how we animated Venom. Tom is really good at keeping his eyeline alive and that constant vibrancy that he brings gave the animators great material to work with.How did the design and animation of the symbiotes interactions with their hosts evolve in this chapter compared to previous films?AharonBourland // The rules from the first two movies mostly stayed the same, but we did loosen one rule a bit: the symbiotes could bond with their hosts more easily this time around. The big advancement was in the design of the symbiote army that helped Venom in the final battle. Each symbiote had its own unique abilities, which really influenced how they behaved and how the fight was choreographed. For example, Jim (the copper-brown symbiote) was a bruiser with powerful punching fists, while Lasher (the green-red symbiote) was quick and a slashing attacker. As a team, each symbiote played a key role in the fight. We also introduced something new by having two of the symbiotes combine to create a hybrid with new powers. We did this with Animal and Tendril, and it really added another layer to the action!Venoms abilities have grown and evolved over the trilogy. What new effects or abilities did you introduce for Venom in this film that were particularly challenging or exciting to create?AharonBourland // Having venom bond with multiple different animals was the big addition to this film.In creating the Xenophage, what were the key design elements that made it a terrifying new creature? How did you approach its movement and texture?John Moffatt // We had a design that Kelly loved when I joined the show. Karl Lindberg had done a concept and DNEG had done some evolution of it and created a really solid concept version of the asset. We commisioned a movment study very early in prep and Chris Lentz and Chas Jarret at DNEG created a sequence that people at the Studio and on the Production got really excited about. Once we had a clear direction in terms of how it was going to move and behave we moved the asset back into build and created a movie quality asset based on the coneot version that was used for the movement study. The movement was actually all in black and white. So we also developed the lookdev of the creature as we refined the asset but Kelly had a very clear idea of how she wanted it to look.The Xenophage has a very distinct and menacing presence. How did you integrate practical effects with CGI to make it feel as realistic and frightening as possible?John Moffatt // As I mentioned at the outset most good ideas are simple. So we looked at all of the moments in the script when she was going to be in the scene and worked with SFX to create interactive effects that would enhance the creatures on screen presence. Often we will shoot with and without specific preactical effects in the event that things change in post and plates that have been shot with specific purpose in prep and shoot change and end up being used differently in post.AharonBourland // Whenever we could, we used practical SFX for the Xenophages interactions with the environment. This included real explosions, ratchet pulls on set pieces, and even flipping CanAms. Since we filmed so many practical effects, we had tons of great reference to use when we needed to recreate or enhance them with CGI. Another advantage of having these practical elements and stunt work was that it allowed us to choreograph the shots like we would for an action sequence. This really gave the action a grounded, realistic feel and helped make the Xenophages even more menacing.Can you walk us through the process of creating the battle sequences between Venom, the new symbiotes and the Xeonphages? What were the biggest technical hurdles?AharonBourland // Creating the battle sequences was a long, evolving process. It all started with previs, where we worked out the general outline of the action with Kelly and Brian. Once we had a rough idea, we moved into stunt rehearsals. The major story points stayed the same, but the specifics of how the action flowed were worked out on the actual location with stunt performers. This was really important because the physical realities of the location and what real performers can do dont always match up with previs. After that, we shot stunt viz for all the key action moments.Then we moved into principal photography, which closely followed the stunt viz, though we made some minor adjustments based on how things were playing out on the day. We shot clean plates and alternate angles to cover any changes that might come up in post-production. There was a good amount of restructuring done during post, but we managed to pull it off by using a mix of plates and full CG shots. The biggest technical challenge was choreographing all the multi-character fight beats. These had to be hand-animated to make sure they didnt just feel like actors in rubber suits. Simone Coco and his team did an amazing job bringing life and character to those fight moments.Can you elaborate on the collaboration between the VFX team and the stunt coordinators for the various battle scenes?John Moffatt // As with Practical SFX we worked closely with the Stunt team. Stunts often produce Stunt Viz during Prep which serves as a great guid for action beats in the movie. Jim Churchman and Jake Tomuri were a joy to work with and we had a good relationship. For me and I think most folk who do this job its about choosing the best approach for each shot, or sometimes elements within a shot. So for example, if the Stunt team can do a practical wire gag and the effect can be in camera, well do that. We will then be on hand to remove the rigs or padding, but ultimately it results in a better on screen reality. Its all a conversation geared towards creating the best finished result.How did you approach the scenes where Venom and the symbiotes morph and transform in real-time during action sequences?AharonBourland // Our approach to the transformations was to keep them feeling natural and organic within the action, rather than drawing too much attention to them. We didnt want the transformations to feel like a separate momentthey should just flow with the action. On the technical side, we created a toolkit of ingredients that we could remix to achieve different styles of transformations. This involved using layers of procedurally generated geometry in Houdini, which gave us the flexibility to create the various morphs as they happened in real-time.In terms of lighting and color, how did you differentiate Venoms darker, grittier tone from the other symbiotes and the Xenophage, especially in battle scenes?AharonBourland // Our overall lighting philosophy was to keep things as photographic and grounded as possible. We didnt want to over-light the characters just for claritysometimes, we let them fall into shadow or silhouette if thats what the plates called for. This helped give the fantastical characters a more real, tangible feel. It was important to avoid that cartoonish look, especially with all the brightly colored comic book characters running around. By keeping the lighting more natural, we made sure Venoms darker, grittier tone stood out, while also differentiating him from the other symbiotes and the Xenophage, especially during the intense battle scenes.What role did previs play in developing the visual effects for the large-scale symbiote battles?John Moffatt // We Previsd a lot of this movie. But as mentioned above things evolve during the post production stage of movies. During the actor and writers strike we worked on Previs for the battle sequence which we shot as soon as production resumed. Kelly had already written it so it wasnt affected by the strike but we wanted to hit the resumption of filming with a solid plan. So It played a big part.AharonBourland // Previs played a huge role in developing the VFX-heavy sequences. It helped us map out the complex action early on. But honestly, post-vis was just as essential, maybe even more so. We used post-vis extensively to work through notes that came up in editorial and to refine the scenes. This really helped give vendors a clear sense of direction once they began tackling the shots in detail.With the introduction of Knull, how did the team conceptualize and design him and his prison?AharonBourland // We went straight to the comic source material to bring Knull to life. Our goal was to make him feel like he stepped right out of the comics, with just a few tweaks to his eyes and mouth to help with expression and clarity of speech. We wanted fans to feel like this was the Knull they knew, just in cinematic form. His prison, though, gave us more room for interpretation. We drew a lot from The King In Black series and then evolved those visuals using techniques wed developed for Venoms goo in the previous films. This approach helped integrate Knulls world into Venoms cinematic language and really cemented their connection.Were there any unexpected technical or creative challenges encountered during the production?John Moffatt // Not really I think that we have all learned that story evolves as production does and Visual effects role is to facilitate that. Id be more surprised these days if things were not challenging or unexpected.AharonBourland // There were definitely some unexpected challengeswhat would filmmaking be without them? Most were creative changes, but we had a big technical surprise with the river tank. Since it was heated, it produced a massive, unexpected amount of steam, which we then had to clean up in post. Another interesting challenge was designing the green symbiote that bonds with Mulligan. Kelly had a unique vision for himshe wanted a snake-like, semi-transparent water god look. Dave Lee and his team at DNEG did a fantastic job bringing that vision to life. Challenges like these are just part of the process, and honestly, theyre what make it all so interesting.Looking back on the project, what aspects of the visual effects are you most proud of?John Moffatt // I like the Wraith Venom performance in the desert and during the third act when Eddie and Venom decide to make the ultimate sacrifice.AharonBourland // When I look back on the project, there are two things Im especially proud of. First, the work that ILM did on the river tank is just amazing. They extended the tank seamlessly, both above and below water, in a way that really helped expand the world of the movie. The second thing is the Venomphage. Animating six characters at once, while making sure they performed a heartfelt goodbye, was a huge challenge. On top of that, we had to layer in fluid effects to simulate the burning acid that Venom uses to sacrifice himselfit was complex but really rewarding.How long have you worked on this show?John Moffatt // 22 months.AharonBourland // I was on the show for about a yearWhats the VFX shots count?John Moffatt // 1285.What is your next project?John Moffatt // Walking my dog.AharonBourland // Right now, Im working on a few things, but Id love to take on a Swamp Thing movie at some point. Though, Im probably going to take a bit of a break and recharge.A big thanks for your time.WANT TO KNOW MORE?Digital Domain: Dedicated page about Venom: The Last Dance on Digital Domain website.DNEG: Dedicated page about Venom: The Last Dance on DNEG website.ILM: Dedicated page about Venom: The Last Dance on ILM website.Rodeo FX: Dedicated page about Venom: The Last Dance on Rodeo FX website. Vincent Frei The Art of VFX 2024

Breakdown & ShowreelsDeadpool & Wolverine: Digi-Doubles Breakdown by FramestoreBy Vincent Frei - 18/11/2024 How do you turn actors, dogs and flying head into digital superheroes? Framestores latest making-of reveals their techniques for crafting digital doubles of Deadpool & Wolverine!WANT TO KNOW MORE?Framestore: Dedicated page about Deadpool & Wolverine on Framestore website.Matthew Twyford: Heres my interview of Matthew Twyford, VFX Supervisor at Framestore.Swen Gillberg & Lisa Marra: Heres my interview of Production VFX Supervisor Swen Gillberg and Production VFX Producer Lisa Marra. Vincent Frei The Art of VFX 2024

Breakdown & ShowreelsThe Walking Dead: Daryl Dixon Season 2: VFX Breakdown by MPCBy Vincent Frei - 18/11/2024 Ever wondered what a zombie apocalypse would look like in Paris? Thanks to MPC, the second season of The Walking Dead: Daryl Dixon brings that terrifying vision to life!WANT TO KNOW MORE?MPC: Dedicated page about The Walking Dead: Daryl Dixon Season 2 on MPC website.WATCH IT ON Vincent Frei The Art of VFX 2024

Breakdown & ShowreelsThe Lord of the Rings: The Rings of Power Season 2: VFX Breakdown by DNEGBy Vincent Frei - 15/11/2024 Experience the magic behind the magic! The visual effects crafted by DNEG for The Lord of the Rings: The Rings of Power Season 2 bring hill trolls, epic battles, and the majestic city of Eregion to life!WANT TO KNOW MORE?DNEG: Dedicated page about The Lord of the Rings: The Rings of Power Season 2 on DNEG website.WATCH IT ON Vincent Frei The Art of VFX 2024

Breakdown & ShowreelsPachinko Season 2: VFX Breakdown by Outpost VFXBy Vincent Frei - 13/11/2024 Dive into the seamless VFX world of Pachinko Season 2! Outpost VFX worked their magic behind the scenes, creating invisible visual effects that breathe life into this epic saga!WANT TO KNOW MORE?Outpost VFX: Dedicated page about Pachinko : Season 2 on Outpost VFX website.WATCH IT ON Vincent Frei The Art of VFX 2024

Explore the visual effects of Brothers, where the work crafted by JAMM on Samuel the orangutan blends seamlessly into the film. The teams attention to detail brings a new level of realism to this character!WATCH IT ON Vincent Frei The Art of VFX 2024The post Brothers: VFX Breakdown by JAMM appeared first on The Art of VFX.

Breakdown & ShowreelsHalo Season 2: VFX Breakdown by El RanchitoBy Vincent Frei - 12/11/2024 Step into the heart of the action with the second season of Halo! The visual effects made by El Ranchito bring the heat of battle to life, as Master Chief takes on relentless enemies in epic combat sequences!WANT TO KNOW MORE?El Ranchito: Dedicated page about Halo: Season 2 on El Ranchito website.WATCH IT ON Vincent Frei The Art of VFX 2024

Breakdown & ShowreelsDeadpool & Wolverine: Opening Sequence VFX Breakdown by FramestoreBy Vincent Frei - 12/11/2024 The opening of Deadpool & Wolverine isnt just an action scene; its a VFX-fueled adrenaline rush! Thanks to the teams of Framestore, every second is a blend of chaos, comedy, and spectacular visuals that will leave you speechless. Ready to get your senses kicked into overdrive?WANT TO KNOW MORE?Framestore: Dedicated page about Deadpool & Wolverine on Framestore website.Matthew Twyford: Heres my interview of Matthew Twyford, VFX Supervisor at Framestore.Swen Gillberg & Lisa Marra: Heres my interview of Production VFX Supervisor Swen Gillberg and Production VFX Producer Lisa Marra. Vincent Frei The Art of VFX 2024

Movie & Games TrailersMission: Impossible The Final ReckoningBy Vincent Frei - 11/11/2024 Your mission, should you choose to accept it: watch the trailer for Mission: Impossible: The Final Reckoningwhere the stakes have never been higher, and the action never more explosive!The VFX are made by:ILMbeloFX (VFX Supervisor: Joel Green)The Production VFX Supervisor isAlex Wuttke.The Production VFX Producer is Robin Saxen.Director: Christopher McQuarrieRelease Date: May 23, 2025 (USA) Vincent Frei The Art of VFX 2024

Movie & Games TrailersCaptain America: Brave New WorldBy Vincent Frei - 11/11/2024 The shield is back in action! Captain America: Brave New World promises epic battles, new enemies, and a fight for justice like never before. Check out the new trailer and gear up for the ultimate Marvel experience!The VFX are made by:Weta FXDigital DomainUPPOPSISThe Production VFX Supervisor is Alessandro Ongaro.The Production VFX Producer is Yasamin Ismaili.Director: Julius OnahRelease Date: February 14, 2025 (USA) Vincent Frei The Art of VFX 2024

Movie & Games TrailersMufasa: The Lion KingBy Vincent Frei - 11/11/2024 Journey back to the Pride Lands with Mufasa: The Lion King! Dive into the untold story of Simbas legendary father and witness his rise from a humble cub to the most beloved king!The Animation and VFX are made by:MPC (VFX Supervisor: Audrey Ferrara)The Production VFX Supervisor is Adam Valdez.Director: Barry JenkinsRelease Date: December 20, 2024 (USA) Vincent Frei The Art of VFX 2024

Movie & Games TrailersMufasa: The Lion KingBy Vincent Frei - 11/11/2024 Journey back to the Pride Lands with Mufasa: The Lion King! Dive into the untold story of Simbas legendary father and witness his rise from a humble cub to the most beloved king!The Animation and VFX are made by:MPC (VFX Supervisor: Audrey Ferrara)The Production VFX Supervisor is Adam Valdez.Director: Barry JenkinsRelease Date: December 20, 2024 (USA) Vincent Frei The Art of VFX 2024

The visual effects crafted by Dexter Studios brings the mystique of Project Silence to life, crafting a haunting bridge shrouded in mist and creatures that will linger in your nightmares! Vincent Frei The Art of VFX 2024The post Project Silence: VFX Breakdown by Dexter Studios appeared first on The Art of VFX.

Enter a world of darkness and sorcery with the visual effects crafted by Blacksmith in the Diablo IV: Vessel of Hatred trailer. Directed by Jon Watts (Spider-Man, Wolfs), this live-action journey brims with eerie creatures and powerful magic. Ready to face your darkest fears?// Diablo IV: Vessel of Hatred Launch Live Action TrailerDiablo IV: Vessel of Hatred Launch Live Action Trailer Behind the Scenes Vincent Frei The Art of VFX 2024

Breakdown & ShowreelsWhite Bird: VFX Breakdown by Rodeo FXBy Vincent Frei - 08/11/2024 Step into the world of White Bird and experience the awe-inspiring wolf pack created by Rodeo FX. This visual effects work highlights the teams skill in blending art and technology to bring natures fiercest creatures to life!WANT TO KNOW MORE?Rodeo FX: Dedicated page about White Bird on Rodeo FX website. Vincent Frei The Art of VFX 2024

In space, no one can hear you scream But on November 21, the terror of Alien: Romulus is coming to Hulu and Disney+. Beware, the Xenomorphs and Facehugger are unleashed!The VFX are made by:ILM (VFX Supervisor: Nelson Sepulveda, Associate VFX Supervisor: Justin van der Lek)Fin Design + EffectsImage Engine (VFX Supervisor: Robin Hackl)Tippett Studio (VFX Supervisor: Chris Morley)Weta FX (VFX Supervisor: Daniel Macarin)Wylie Co. (VFX Supervisor: Elliott Brennan)Atomic Arts (VFX Supervisors: Marco Rolandi, Rupert Davies)Metaphysic (VFX Supervisor: Jo Plaete)The Production VFX Supervisor is Eric Barba.The Production VFX Producer is Annemarie Griggs.Director: Fede AlvarezRelease Date: August 16, 2024 (USA) Vincent Frei The Art of VFX 2024The post Alien: Romulus appeared first on The Art of VFX.

Movie & Games TrailersSous la Seine (Under Paris)By Vincent Frei - 07/11/2024 Discover the artistry behind Sous la Seine (Under Paris)! This exclusive featurette showcases the collaboration between MPC and The Mill in creating an immersive experience that captivated audiences at the Paris premiere!The VFX are made by:MPC (VFX Supervisor: Arnaud Fouquet)Digital DistrictDirector: Xavier GensRelease Date: June 5, 2024 (Netflix)WATCH IT ON Vincent Frei The Art of VFX 2024

Breakdown & ShowreelsDeadpool & Wolverine: Visualisation Reel by FramestoreBy Vincent Frei - 07/11/2024 Dive into the really cool Visualisation work made by Framestore in Deadpool & Wolverine, featuring a jaw-dropping opening, a seamless oner with the Deadpool Squad and more. Experience visual storytelling on another level!WANT TO KNOW MORE?Framestore: Dedicated page about Deadpool & Wolverine on Framestore website.Matthew Twyford: Heres my interview of Matthew Twyford, VFX Supervisor at Framestore.Swen Gillberg & Lisa Marra: Heres my interview of Production VFX Supervisor Swen Gillberg and Production VFX Producer Lisa Marra. Vincent Frei The Art of VFX 2024

Movie & Games TrailersPaddington in PeruBy Vincent Frei - 06/11/2024 Paddington is back, and hes more adventurous (and clumsy) than ever! Watch this clip from Paddington in Peru that shows why trusting our beloved bear with a boats navigation might not be the best idea!The VFX are made by:Framestore MontrealVFX Supervisor: Mark CurtisAnimation Supervisor: Aulo LicinoExecutive Producer: Dan Matley (for both sites)Framestore LondonVFX Supervisor: Sylvain DegrotteAnimation Supervisor: James KingTPO VFX (VFX Supervisor: Matthew Tinsley)The Production VFX Supervisor is Alexis Wajsbrot.The Production VFX Producer is Nick King.The Production Animation Director is Pablo Grillo.Director: Dougal WilsonRelease Date: November 8, 2024 (UK) Vincent Frei The Art of VFX 2024

Breakdown & ShowreelsHagen: VFX Breakdown by RISEBy Vincent Frei - 06/11/2024 Embark on an epic journey with Hagen, where the visual effects made by RISE bring to life the legendary saga of the Nibelungen. From towering castles to a colossal, fiery volcano, and legions of warriors, witness an immersive world crafted with precision and artistry!WANT TO KNOW MORE?RISE: Dedicated page about Hagen on RISE website. Vincent Frei The Art of VFX 2024

Movie & Games TrailersStranger Things Season 5By Vincent Frei - 06/11/2024 Catch a glimpse of the Stranger Things season finale as the latest teaser unveils the episode titles! Prepare yourself for a chilling adventure set in the autumn of 1987. What horrors await Hawkins this time?Creators: Matt Duffer & Ross DufferRelease Date: Coming Soon (Netflix)WATCH IT ON Vincent Frei The Art of VFX 2024

Movie & Games TrailersSquid Game Season 2By Vincent Frei - 05/11/2024 After surviving the unimaginable, Player 456 chose not to escape to the U.S. but to return. Why did he come back, and what will he risk this time? The new teaser for Squid Game Season 2 is here to unveil the first clues!The VFX are made by:Gulliver StudiosDirector: Hwang Dong-hyukRelease Date: December 26, 2024 (Netflix)WATCH IT ON Vincent Frei The Art of VFX 2024

Breakdown & ShowreelsRipley: VFX Breakdown by ReDefineBy Vincent Frei - 05/11/2024 In Ripley, the backdrop tells its own story. Thanks to the invisible visual effects work crafted by ReDefine, various environments come alive, from the bustling subway to Italian coastline. Explore how this subtle craftsmanship shapes the series without stealing the spotlight!WANT TO KNOW MORE?ReDefine: Dedicated page about Ripley on ReDefine website.John Bowers & Joseph Servodio: Heres my interview of John Bowers (Production VFX Supervisor) & Joseph Servodio (Production VFX Producer).WATCH IT ON Vincent Frei The Art of VFX 2024

Breakdown & ShowreelsGuardians of the Galaxy Vol. 3: Building the Arte by Weta FXBy Vincent Frei - 05/11/2024 Explore The Arte, crafted by Weta FX for Guardians of the Galaxy Vol. 3. With refined visual effects, this spacecraft adds depth and intrigue to the film, showcasing Wetas expertise in creating compelling, detailed designs!WANT TO KNOW MORE?Weta FX: Dedicated page about Guardians of the Galaxy Vol. 3 on Weta FX website.Guy Williams & Mike Cozens: Here is my interview of Guy Williams (VFX Supervisor) & Mike Cozens (Animation Supervisor) at Weta FX.Stephane Ceretti: Here is my interview of Production VFX Supervisor Stephane Ceretti.WATCH IT ON Vincent Frei The Art of VFX 2024

Movie & Games TrailersThe PenguinBy Vincent Frei - 05/11/2024 The endgame begins. Gothams underworld braces for the ultimate showdown as the gripping journey of The Penguin reaches its conclusion. Watch the trailer for the epic season finale now!The VFX are made by:Accenture SongAnibrainFixFXFrostFXLekker VFXPixomondoReDefineSSVFXStormborn StudiosThe Production VFX Supervisor is Johnny Han.The production VFX Producer is Michelle Rose.Director: Craig ZobelRelease Date: September 19, 2024 (HBO Max)WATCH IT ON Vincent Frei The Art of VFX 2024

Breakdown & ShowreelsThe Old Man Season 2: VFX Breakdown by FramestorePar Vincent Frei - 04/11/2024 Discover how Framestores New York team crafted invisible and atmospheric visual effects for Season 2 of The Old Man. Subtle and seamless, these effects draw you deeper into the drama without ever revealing their hand!WANT TO KNOW MORE?Framestore: Dedicated page about The Old Man: Season 2 on Framestore website.WATCH IT ON Vincent Frei The Art of VFX 2024

Movie & Games TrailersA Complete UnknownPar Vincent Frei - 04/11/2024 Go backstage with A Complete Unknown and see how Bob Dylans beginnings were brought to life. This featurette showcases the passion and vision behind capturing the essence of a music legend!The VFX are made by:Rising Sun PicturesThe Production VFX Supervisor is Bryant Mudd.Director: James MangoldRelease Date: December 25, 2024 (USA) Vincent Frei The Art of VFX 2024

Movie & Games TrailersBetter ManPar Vincent Frei - 04/11/2024 ICYMI: A month ago, in addition to the first teaser, Robbie Williams and director Michael Gracey shared the story behind turning the pop legend into a monkey for Better Man. Revisit the featurette and dive into this bold, surprising transformation!The VFX are made by:Weta FX (VFX Supervisor: Luke Millar, Animation Supervisor: Dave Clayton, VFX Producer: Andy Taylor)Director: Michael GraceyRelease Date: December 25, 2024 (USA) Vincent Frei The Art of VFX 2024

Movie & Games TrailersSilo Season 2Par Vincent Frei - 04/11/2024 Get ready to step back into the mysterious depths of Silo. The first five minutes of the new season are a pulse-pounding entry point into a world of hidden truths and high-stakes survival!The VFX are made by:Industrial Light & MagicRodeo FXOutpost VFXPowerhouse VFXFuseFXThe Production VFX Supervisor is Daniel Rauchwerger.The Production VFX Producer is Jennifer Wessner.Creator: Graham YostRelease Date: November 15, 2024 (Apple TV+)WATCH IT ON Vincent Frei The Art of VFX 2024

Movie & Games TrailersAgatha All AlongPar Vincent Frei - 01/11/2024 The trailer for Agatha All Alongs final episode of the season is here! Prepare yourself for secrets revealed and spells cast as Agathas story reaches its thrilling peak!The VFX are made by:Digital DomainSDFX StudiosPerceptionThe Production VFX Supervisor is Kelly Port.The Production VFX Producer is Tim T. Cunningham.Directors: Jac Schaeffer, Gandja MonteiroRelease Date of 2 episode premiere: September 18, 2024 (USA)WATCH IT ON AGATHA ALL ALONG, exclusively on Disney+. 2024 MARVEL. Vincent Frei The Art of VFX 2024

A galaxy far, far away just got a whole lot more mysterious. Watch the new trailer for Star Wars: Skeleton Crew, where four kids embark on a journey they never expectedone filled with adventure, danger, and unforgettable discoveries!The VFX are made by:ILM (VFX Supervisors: Eddie Pasquarello, Jeff Capogreco, Tristan Myles)DNEG (VFX Supervisor: Chris McLaughlin)Image Engine (VFX Supervisor: Andy Walker)Tippett Studio (VFX Supervisor: Chris Morley)BOT VFX (VFX Supervisor: Sean Pollack)Cantina CreativeThe Production VFX Supervisor is John Knoll.Directors: Jon Watts, Daniel Kwan, David Lowery, Daniel Scheinert, Jake SchreierRelease Date: December 3, 2024 (Disney+) Vincent Frei The Art of VFX 2024The post Skeleton Crew appeared first on The Art of VFX.

Movie & Games TrailersThat ChristmasPar Vincent Frei - 01/11/2024 Based on Richard Curtiss enchanting childrens books, That Christmas weaves together tales of family, friendship, and holiday warmth. Catch the trailer and get ready to feel the magic of the season through unforgettable adventures!The Animation and VFX are made by:DNEG Animation Director: Simon OttoRelease Date: December 4, 2024 (Netflix)Screenshot Vincent Frei The Art of VFX 2024

Breakdown & ShowreelsParasyte The Grey: VFX Breakdown by Dexter StudiosPar Vincent Frei - 01/11/2024 Step into the chilling world of Parasyte: The Grey, where Seoul-based Dexter Studios brings terrifying creatures and various environments to life. Discover the visual effects that make each encounter a haunting experience!WANT TO KNOW MORE?Dexter Studios: Dedicated page about Parasyte: The Grey on Dexter Studios website.WATCH IT ON Vincent Frei The Art of VFX 2024

Breakdown & ShowreelsThe Gilded Age Season 2: VFX Breakdown by DNEGPar Vincent Frei - 31/10/2024 Witness 1882 like youve never seen it! The visual effects crafted by DNEG for The Gilded Age Season 2 bring the elegance and grandeur of New Yorks upper class to life, drawing viewers into a world of wealth and scandal!WANT TO KNOW MORE?DNEG: Dedicated page about The Gilded Age: Season 2 on DNEG website.WATCH IT ON Vincent Frei The Art of VFX 2024