Breakdown & ShowreelsLa Bte: VFX Breakdown by MPCBy Vincent Frei - 23/01/2025 What does a world stripped of human emotions look like? La Bte paints a haunting picture, brought to life by the visual effects crafted by MPC. Experience the tension, beauty, and unease of a future controlled by artificial intelligence! Vincent Frei The Art of VFX 2025

Awards97th Oscars: The VFX NomineesBy Vincent Frei - 23/01/2025 The Academy has spoken! The nominations for the 97th Oscars are here, and the competition for Best Visual Effects is nothing short of spectacular. Which of these groundbreaking films will take home the gold?The 97th Oscars will be held on Sunday, March 2, 2025, at the Dolby Theatre at Ovation Hollywood and will be televised live on ABC, streamed live on Hulu and airs live in more than 200 territories worldwide. Vincent Frei The Art of VFX 2025

From the visionary director of Parasite, Bong Joon Ho brings us Mickey 17, a sci-fi epic like no other. Check out the gripping new trailer and get ready for a cinematic experience that will blow your mind!The VFX are made by:DNEG (VFX Supervisor: Chris McLaughlin)Framestore (VFX Supervisor: Stuart Penn)Rising Sun Pictures (VFX Supervisor: Guido Wolter)Turncoat Pictures (VFX Supervisor: Ryan Urban)The Production VFX Supervisor is Dan Glass.The Production VFX Producers are Whitney Gearin and Nicky Coats.Director: Bong Joon HoRelease Date: March 7, 2025 (USA) Vincent Frei The Art of VFX 2025The post Mickey 17 appeared first on The Art of VFX.

InterviewsEdge of Space: Jean de Meuron (Director) & Charles H. Joslain (VFX Supervisor VFX LA)By Vincent Frei - 22/01/2025 Hailing from Switzerland, Jean de Meuron started his journey in the film industry by producing branded content and TV commercials. He later collaborated with top-tier Hollywood studios such as Paramount and Universal, producing acclaimed short films like Megan. After producing his debut feature, Tides, with Roland Emmerich as executive producer, he now turns his attention to directing. He discusses his newest project, the short film Edge of Space.With a career spanning various projects such as The Bear, Weird: The Al Yankovic Story, Upon Walking, and The Creator, Charles H. Joslainco-founder of VFX Los Angelestalks to us about the unique demands of creating VFX for short films.Jean, your journey in the movie business has taken you across various genres and formats. What inspired you to create a story about the NASA X-15 program?Jean de Meuron (JDM) // I have always been fascinated with space exploration. When I worked for Roland Emmerich on Moonfall, where NASA was a partner, I traced the agencys beginnings for research purposes because there is no future without the past. I of course had watched The Right Stuff, Apollo 13 and First Man all movies I love so I was familiar with the cinematic history of NASA.Edge Of Space is set in 1961 during the height of the US-Soviet Union space race and explores those crucial early days, while paying homage to the brave pioneers who sacrificed so much and risked it all. As far as the vision is concerned, I aspired to cinematically depict the struggles and conflicts of those who, as per President John F. Kennedy, took a clearly leading role in space achievement.Could you share how your personal experiences or interests influenced the vision for Edge of Space?JDM // Since the film is inspired by actual historical events, Tom Wolfes book The Right Stuff, and its film adaptation by director Philip Kaufman, which detailed the heroic exploits of test pilots turned astronauts, was a major influence. From a filmmaking point of view, Terrence Malicks cinematography was an influence, as we shot most of the film using available light during golden/magic hour.Charles, what drew you to this project, and how did your background prepare you for the challenges of visualizing this era of aviation history?Charles H. Joslain (CHJ) // Well, like Jean, I grew up in Europe with the constant appeal of one day joining the American Dream (however clich this may sound), and there was not one part of what I like to call peak America (i.e. the 1990s) that I didnt like. But from Michael Jordans exploits to Bruce Willis in Die Hard, I always kept a very special place in my heart for the achievements of NASA & the US military; I am of the belief that when America gets its act together and uses its might for discovery/pushing the boundaries of engineering, the world is a better place.So, with that preamble out of the way, having always marveled at the X-15 (and the SR-71), this was a childhoods dream to get involved and bring/expand my humble knowledge of aviation to the table.How did you research and ensure historical accuracy while crafting a compelling narrative for this story?CHJ // We went through a thorough process of analyzing all archive material that we could get our hands on, from a simple Wiki page to the 40+ hours of grainy footage NASA graced us with thanks to Jeans persuasiveness. We went as far as measuring shadows from top-down photographs of the Edwards Air Force Base to figure out the correct height and positioning of buildings Truly, no stone was left unturned.JDM // As Charlie stated, we researched and studied actual archival footage from Mercury, Gemini and Apollo space missions, which was provided to us by NASA. This way, we not only ensured historical accuracy, but also had an authentic approach on how to visualize the aerial sequences. Pertaining to the compelling narrative, at the heart of the story are ordinary people thrust into extraordinary situations during an era of scientific innovation and human perseverance. Our film embodies the American dream and spirit, namely courage in the face of adversity, and hope while overcoming impossible circumstances against all odds. We think it is an uplifting message that people united for one shared goal and common purpose.Was there a specific moment or story from the X-15 program that convinced you this project needed to be made?JDM // It should be stated that the X-15 program was one of the most successful as far as research in aviation is concerned, making significant contributions to the exploration of space. There is one flight in particular that convinced us, namely Neil Armstrongs X-15 test flight in 1962. He not only carried out the longest mission of the program, but also achieved his highest altitude. On his return to Earth, Armstrong inadvertently pulled too high an angle of attack, causing him to bounce off the atmosphere. Remaining calm under immense pressure, he was able to safely come back. Armstrong, who became the first person to step on the Moon, brought extensive knowledge of engineering and hypersonic flight to further advance Americas space objectives and essentially realize JFKs promise to landing a man on the Moon and returning him safely to Earth.Could you walk us through how you approached the balance between practical shots and VFX?CHJ // We are of the opinion that good VFX work helps move the story forward & bend the characters arcs; those concerns must always be at the forefront of any filmmaking effort. If the VFX wont move the emotional journey of the audience, then they are not needed. With this principle as a starting point, we extended the use of principal photography as far as we could, even capturing beautiful drone footage for some of the aerial sequences or shots_such as the backdrop used for the B52 elevating itself into the frame or the landing sequence in the desert. We also captured various HDRI/lighting references as possible to retain as much of the overall cinematography as possible within our VFX work.JDM // We aspired to film in camera on location aside from the space sequences of course as I like real texture. My DP and I wanted to shoot as practically as possible, so we storyboarded the film. When we were on set, we knew exactly what we needed in terms of VFX plates. For me, visual effects elevate the story in terms of epic scale and ambitious scope for instance in our case digitally adding set extensions like Edwards Air Force Base.What were the most challenging sequences to shoot or recreate, and how did you solve these challenges?JDM // It was challenging to film during magic/golden hour because of the limited time available. We overcame it by being very organized, prepared and efficient, knowing exactly what we wanted to capture.CHJ // From our standpoint, creating the entire Edwards Air Force Base and populating it with MOCAP extras and a variety of tools, vehicles, stated airplanes, adequate markings on the tarmac or the runway, etc That was not easy. Recreating the Arlington-style cemetery was also quite challenging, with having to design individual tombstones and line them up according to Pentagon specifications.But I personally had the most fun with a couple of shots using ultra-long telephoto lenses, around 4000-5000mm Those were truly tricky in terms of reverse-engineering the correct speed of the pan as the camera (all done in CGI in this case) tracks an object moving twice as fast as a bullet, and adding an adequate amount of clouds in the background to give that sense of daredevil speed. Those two are my personal favorites.How did you ensure that the films VFX complemented the story rather than overshadowing it?CHJ // By always keeping in mind what this story is at its core: the extraordinary challenge that a married couple faces when the hope of their nation turns to them for leadership & sacrifice. Hence why each shot has been designed, at storyboarding stage, to enhance the danger the husband faces, or to increase the sense of isolation his wife must endure, etc etc Each angle, each beat, each parameter that makes a film worthy of the name, was conceived with the intent to build the emotional tone between the two of them; VFX included.Could you share an example of a key collaboration between the director and the VFX team that shaped a pivotal moment in the film?CHJ // Ah! A perfect example would be when the lead protagonist fires up his booster after being dropped from the B-52 Without drowning everyone with tedious details about the X-15s necessary flight path, and why the plane operated the way it did, just keep in mind that the booster is ignited with such power that it can propel a 40-feet-plane from a vertical drop using only gravity, into a steep J-curve ascension towards the heavens at mach 6.57 Yes, you read that right: nearly 7 times the speed of sound!Now, you can imagine that equates to a lot of power. And annoyingly if I dare say, we realized during our research that the X-15 booster only acted a sort of blowtorch, producing a unique-looking elongated flame with diamond shapes within it, but no real explosion so-to-speak. Nothing like a Saturn rocket which we are accustomed to see in movies and documentaries.So, Jean wanted to opt for realism but after a lengthy discussion and the sharing of various examples, I convinced him to allow us to create some sort of fire breathing/spitting ball, coming out of the engine as a way to really help cinematically visualize the immense power of the X-15. The final convincing argument I made, I recall, was to say: Our VFX will sell it, but the sound design will make it glorious. And rest assured that Jean heard our rationale and opted for said flames/explosion as a way to embody the awesome thrust of this beautiful aircraft. This is what a good director does: he puts his ego aside and makes the best decisions for the sake of the film.Were there any specific references, either historical or cinematic, that guided the aesthetic and technical choices for the VFX?CHJ // The vision for Edge of Space was to render an homage to classic American epic filmmaking la Spielberg and therefore make sure to craft the VFX with that same balance of technical accuracy, but emotional tonality also. To give a concrete example this would mean creating a CGI shot with the X-15 as it glides just over the atmosphere, and enhancing a little bit the air particles coating the plane to give a better sense of speed; as well as a more cinematic look. Another great example of that process was how we tweaked very slightly the dials on the altimeter/gauges (we added red numbers and a hard line) to give a sense of impending doom when our lead character reaches the near limit of the X-15s flight abilities, making sure the audience would visually understand that once the threshold of 360k feet would be crossed, he would break away from Earths gravity and be lost in space forever. So, that sort of elegant design, between what was scientifically accurate vs. what served the story best, is what we engineered carefully throughout the film.As a short film, budget and resources are often limited. How did you prioritize your resources to achieve the most impact on-screen?JDM // By making sure that most of our resources were in front of the lens on screen to guarantee the biggest cinematic impact.CHJ // I will add by planning nearly down to the pixel what was truly required by the script versus what would only be a bonus or nice to have.What were the biggest compromises you had to make during production, and how did you adapt to these limitations?JDM // Orson Welles once famously said that the absence of limitations is the enemy of art. So rather than compromising, we embraced our challenges, solving them creatively. As a team, we worked very fast and I blocked/staged the scenes in a way that we could use much of the master shot in the edit. We had a very kinetic camera with lots of movement in front of the lens within the frame. Basically actors walking with the camera following them, capturing the action.Charles, how did you manage to create high-quality effects on a constrained budget?CHJ // By creating an insanely precise scope-of-work up front. Lots of filmmakers and artists try to find their way towards a design/VFX that they feel works for their film, and if you have that luxury of budget/time, good for you! In our case, with 137 shots on our plate, we had to be extremely precise with what specific angle would require what specific asset(s) (3d plane? particle simulation? MOCAP extras?), and therefore how Jean needed to direct/frame each shot to make sure that later on in post, there wouldnt be some horrible surprise along the lines of: Oh crap Now we need 3 more shots with Edwards Air Force Base when we only had budgeted 4. Or: Should we pan all the way to that mountain over there, where we will have to erase the highway, or can we stop before that? And then you repeat that process times the number of shots in the film until the shotlist matches your budget perfectly. So just very meticulous planning, down to the lens & camera motion for each angle. And thank God, Jean is the kind of director who can both articulate his vision with real clarity yet compromise on the details when required.Can you share any creative solutions or hacks you used to bring this ambitious project to life?JDM // Being passionate, persistent and believing in our vision from beginning to end. Our dedication, determination, focus and sheer will enabled us to convince many to join us on this incredible journey, which was so rewarding.What advice would you give to aspiring filmmakers and VFX artists tackling similar ambitious stories on smaller scales?CHJ // Well, the fundamentals never change so first of all: tell a story that means the world to you; dont try to impress, dont go for the likes or the trend of the moment Say something that you deeply believe in. Always.Secondly: reverse-engineer. Analyze carefully what you can afford to put in front of the camera and prioritize that. VFX should only compliment and elevate the story & the characters; never be the center of attention.Finally, have fun! Smell the roses. Youre in for pain and wounds so, smile along the way and try to achieve the greatest film of course but dont hyper focus on the end result. Enjoy the journey, because thats really all you get.A big thanks for your time.// Edge of Space Trailer// Edge of Space VFX Breakdowns VFX LA Vincent Frei The Art of VFX 2025

Breakdown & ShowreelsDune Prophecy: VFX Breakdown by Rodeo FXBy Vincent Frei - 22/01/2025 Explore the breathtaking imperial grandeur of Kaitain in HBOs Dune: Prophecy! Rodeo FX delivers really cool visual effects, crafting intricate environments for the palace that transport viewers straight to the heart of the universes political intrigue!WANT TO KNOW MORE?Rodeo FX: Dedicated page about Dune: Prophecy on Rodeo FX website.Mike Enriquez & Terron Pratt: Heres my interview of Production VFX Supervisor Mike Enriquez and VFX Producer Terron Pratt. Vincent Frei The Art of VFX 2025

Breakdown & ShowreelsHouse of the Dragon Season 2: New making of by PixomondoBy Vincent Frei - 21/01/2025 Unleash the dragons! This new making-of takes you behind the curtain of House of the Dragon Season 2. Join Production VFX Supervisor Dadi Einarsson and the Pixomondo team as they reveal the artistry, technology, and passion behind the visual effects and majestic dragons! Vincent Frei The Art of VFX 2025

Breakdown & ShowreelsSecret Level: Concord Tale of the Implacable by Axis StudiosBy Vincent Frei - 21/01/2025 Step into the stunning world of Episode 13 from Tim Millers animated anthology, Secret Level. Crafted by Axis Studios, this episode showcases their final creative triumphs, a bittersweet reminder of a studio that left an indelible mark on animation! Vincent Frei The Art of VFX 2025

Breakdown & ShowreelsInvisible: VFX Breakdown by El RanchitoBy Vincent Frei - 21/01/2025 Experience the magic of Invisible on Disney+, brought to life by the really cool visual effects work crafted by El Ranchito. Their standout creation? A magnificent dragon thats as realistic as it is mesmerizing!WANT TO KNOW MORE?El Ranchito: Dedicated page about Invisible on El Ranchito website. Vincent Frei The Art of VFX 2025

InterviewsVenom The Last Dance: Scott Edelstein (VFX Supervisor) & Ellen Hoffmann (Animation Supervisor) Digital DomainBy Vincent Frei - 20/01/2025 Back in 2021, Scott Edelstein detailed Digital Domains contributions to Free Guy. He later brought his expertise to Spider-Man: No Way Home and Madame Web.In 2022, Ellen Hoffmann shared insights into Digital Domains animation work on Black Panther: Wakanda Forever. She later contributed to Madame Web and now returns to discuss her work on Venom: The Last Dance.What was your feeling to enter into the Venom universe?Scott Edelstein (SE): Having worked on several films with comic origins, I was excited to help visualize Knull and bring the world of Klyntar to life. It was a highly stylized universe with its own set of challenges, and Im proud of our artistic and technically skilled team for seamlessly bringing it all together.How was the collaboration with Director Kelly Marcel and with VFX Supervisors John Moffatt and Aharon Bourland?SE: Dont tell anyone I said this, but working with Kelly, John and Aharon was one of my favorite creative collaborations so far. From the outset, Kelly provided a clear, overarching vision for the film, helping us understand the emotional and narrative weight behind every shot. She pushed us creatively while allowing us to innovate and experiment within the boundaries of the narrative.Working closely with John, Aharon and their producer, Greg Baxter, was equally amazing. Their expertise and technical insight helped us navigate the challenges of designing such complex effects. Their feedback was both constructive and collaborative, and the trust they had in our ability to complete the project allowed us the freedom to explore and create within a very tight timeline while absorbing new creative ideas along the way.Communication was a key component of this collaboration. Regular check-ins and review sessions allowed the teams to refine the work in real time. This constant feedback loop ensured that we were always moving forward with a unified vision, whether it was adjusting the look of Klyntar or fine-tuning the animation for the Codex sequence. The combined efforts of Kelly, John, Aharon, Greg and the entire team helped us meet the ambitious deadlines without sacrificing the quality or emotional impact of the VFX.How did you organize the work with your VFX Producer?SE: Our Digital Domain VFX Producer, Gayle Munro (no longer at Digital Domain), was key to organizing and streamlining the workflow for this project. Gayle played a central role in ensuring that we adhered to the tight timeline while maintaining the high standards required for the show. From breaking down the project into clear milestones and deadlines to helping the team stay on track, she ensured we could deliver each phase of the VFX work in a timely manner.Jen Avery, our VFX Coordinator, was equally vital in keeping things running smoothly. Jen handled the day-to-day logistics, ensuring that all assets, notes, and feedback were organized and communicated clearly across departments. Her attention to detail and organizational skills made it easier for us to track progress, manage files, and stay aligned throughout the production pipeline. The combination of Gayles overarching project management and Jens meticulous coordination allowed us to navigate the intense workload efficiently, ensuring that the team could focus on delivering the best possible results within the given timeframe.What are the sequences made by Digital Domain?SE: Digital Domain worked on several key sequences involving Knull and the world of Klyntar. Our focus was primarily on any scenes that took place on Klyntar or featured Knull, including the creation of the Codex. Our work bookended the film, providing both the opening and closing scenes. These sequences were integral to setting the tone and bringing the world of Knull and Klyntar to life.What were the main inspirations for designing Knull, especially in terms of his menacing and otherworldly appearance?SE: When designing Knull, our approach was deeply rooted in both refining existing assets and creating a character capable of delivering dialogue full-frame, directly to the camera. We began with an ingested asset from another vendor but had to make significant adjustments to ensure Knull had the menacing, otherworldly presence needed for the role. This meant revisiting the basics and redesigning the underlying facial bones and muscles to allow for more expressive movement, mainly when delivering lines of dialogue.Aharon, the client supervisor, provided us with valuable references for the skin beneath Knulls armor, which helped inform the raw, almost burned quality of his flesh. While it was sometimes quite disturbing to look at, this detail added a unique texture that made his character feel more brutal and menacing. We also drew inspiration from the comics, looking for ways to translate Knulls terrifying presence into something that felt grounded in photorealism. Combining these elements, we were able to create a design that was both true to the source material and adapted to the films visual language, giving Knull a terrifying and otherworldly appearance that could engage the audience up close.Knulls symbiotic armor and weaponry are iconic. How did you approach the visual and technical challenges of creating their organic yet intimidating look?SE: Knulls symbiotic armor and weaponry started as an ingested asset from another vendor, but much like his body, it required significant refinement to achieve the organic yet intimidating look we wanted. We approached the armor and weapons as extensions of Knulls being, focusing on making them feel like they were grown from his own flesh rather than something simply added on. This meant reworking the structure, ensuring that the armor had a fluid, living quality while still looking sharp and aggressive.To bring this vision to life, we began by revisiting the design and anatomy, much like we did with Knulls facial features. We adjusted the underlying structure of the armor, reworking the underlying elements, and jagged edges to ensure they could support the look needed for action sequences, especially when interacting with Knulls body. We also added details that gave the armor an almost decayed look like exposed bone to enhance its menacing presence.The necrosword followed the same principles, although we started from art department designs. Through an iterative process, we were able to give his sword a sense of something both alive and terrifying while still making it functional and menacing within the context of the story.Knulls presence exudes power and dread. How did the team use lighting, textures, and VFX elements to enhance his god-like aura on screen?SE: To highlight Knulls presence in a dark, oppressive world with no specific light source, we focused on subtle lighting techniques. Since the environment was a prison hed been trapped in for thousands of years, we used ambient lighting to gently reveal his form, casting faint glows that drew attention to him without fully illuminating his surroundings. This allowed Knull to stand out from the shadows while maintaining the atmosphere of isolation and confinement.Given that we needed to hide his face for much of the time to maintain the mystery of his identity, we focused on lighting and shadow to partially obscure his features. This added to his aura of menace, keeping him in the shadows while still making sure his imposing form and tortured history were felt throughout the scene.Were there any specific challenges or breakthroughs in bringing Knulls design from concept art to final on-screen realization?SE: One of the biggest challenges in bringing Knulls design to a final on-screen realization was making him a photoreal, believable character, especially in hero moments when he was delivering dialogue directly to the camera. The complexity of his design and importance to the story made it essential to ensure that his facial expressions and movements were both natural and menacing, even with all the alien elements.To achieve this, we leveraged Digital Domains latest tools, including our cutting-edge markerless facial capture technology, Masquerade3. This technology allowed us to capture incredibly detailed, subtle facial expressions, which were critical for conveying emotion and intensity in Knulls dialogue scenes. The challenge was not just getting the facial performance right, but also ensuring that it worked seamlessly with his monstrous features and the otherworldly quality of his design.Klyntar has a unique visual identity as the birthplace of the symbiotes. What inspired the teams approach to designing its alien landscapes and architecture?SE: The design of Klyntars alien landscapes and architecture was inspired by a range of sources, including designs from past films, comic book panels, and direction from our client, all anchored in a base from previs. The idea behind Klyntar was that it was a place created by the symbiotes themselves, formed from their own bodies as a prison for Knull. This unique concept shaped our approach to the environment, as we wanted to convey both the sense of an ancient, dark power and the organic, unsettling nature of the symbiotes.Drawing inspiration from comic book references allowed us to capture an alien, almost grotesque quality, while designs from other films helped us explore different ways to visually represent the symbiotes sacrifice and the harshness of the prison they built. The clients guidance was key in ensuring that the environment felt both imposing and integral to the story, while the previs gave us a solid foundation to understand the layout and pacing of the environment. Together, these elements helped us craft Klyntar into a place that felt like a living, monstrous structure, created from the very beings it imprisoned.In creating Klyntar, how did you ensure its environment felt both vast and alive, as though it were an extension of the symbiote hive-mind?SE: To make Klyntar feel both vast and alive, we focused on creating an environment that constantly shifted and changed, reflecting the chaotic, organic nature of the symbiotes. We used Houdini to create fluid simulations and dynamic textures that allowed the landscape to feel in constant motion, with surfaces that appeared to breathe and transform. This gave the environment a sense of life as if it were always evolving.Lighting also played a key role in enhancing the feeling of vastness. We worked with subtle atmospheric effects and varying light sources to create depth and mystery, ensuring that parts of Klyntar seemed to dissolve into shadow, while other areas were revealed with eerie, glowing highlights. The interplay of light and texture gave the environment both scale and a sense of responsiveness, making it feel as though the world itself was a living, shifting entity, ever-changing in response to its surroundings.The Xenophages are terrifying and monstrous. Can you walk us through the process of designing their grotesque yet functional anatomy?SE: For the Xenophages, the assets were provided to us by another vendor, and our role was to refine and enhance them to fit the specific needs of our shots. Given that we had extremely close-up shots, we focused on upresing the existing assets to ensure they held up at a higher level of detail. We added extra details like drool and nasal spray, which contributed to their grotesque and monstrous appearance, enhancing their unsettling nature. We also worked on refining the eyes, adding more intricate details to make them feel more alive and intense but also blind in the close-up shots. Our aim was to maintain their terrifying, monstrous look while making sure the anatomy felt functional and believable within the world they inhabit. The additional details helped push their grotesque appearance while still keeping them grounded in the films overall aesthetic.How did you approach the animation of the Xenophages to convey their predatory and chaotic nature?Ellen Hoffmann (EH): The Xenophanges share a common goal, but theres always a struggle for dominance within the pack. Constant competition over who leads fuels their interactions. In our research, we discovered some fascinating behaviors in fighting hyenas that provided valuable insights. The challenge was to capture their chaotic, fast-paced movements while maintaining that sense of underlying tension. We were fortunate to receive strong reference material from other vendors who had already worked on the character for some time. Given our tight timeline, these references were crucial for achieving a strong result quickly.Their movements are both alien and insect-like. What references or techniques did you use to strike the right balance between realism and fantasy?EH: For realism, the key was always to convey the heaviness of the character. Even though they move quickly, we needed to ensure they still felt like towering, massive creatures. We incorporated small, rapid head movements and quick shifts in direction, like brief head shakes, but always kept the body movements slower and heavier. The result was that, even in moments of fast movement, their overall motion retained a grounded, weighty feel, as if they were pushing forward with force, but only for a brief moment.Were there specific sequences involving the Xenophages that pushed the limits of what Digital Domain could achieve in terms of VFX and animation?EH: We had a scene with a large number of Xenosphages in a single shot, which could have been challenging to manage. However, thanks to good planning and the use of in-house crowd animation tools, we were able to make a scene with 40 creatures still manageable. Finding the right composition in frame and still being able to add detailed animation. I have to say, everything went surprisingly smooth.Were there any unexpected technical or creative challenges encountered during the production?SE: As with any film production, there were a few unexpected challenges and creative changes along the way. One of the main hurdles came late in delivery when some of Knulls dialogue changed and was not captured with Tom Hardy during our Masquerade3 facial capture setup. To overcome this, we had to pivot quickly and rely on witness camera footage as a reference. From there, our highly skilled animators played a crucial role in bringing the dialogue to life, carefully animating Knulls facial expressions and movements to match the emotional intensity required for the scene.EH: After using motion capture for the other shots, we gained valuable insights into Tom Hardys distinctive performance, which we then applied to our fully animated facial shots. However, with the shift in dialogue intensity compared to the mocap, we were able to amplify the performance, incorporating stronger and more expressive body and facial movements.Looking back on the project, what aspects of the visual effects are you most proud of?SE: One of the most challenging yet rewarding sequences we worked on was a single, long shot that illustrated the creation of the Codex. This sequence was an all-CG shot set at a microscopic level, depicting the fusion of human and symbiote energy and culminating with the Codex merging with the Necrosword. The complexity lay not only in the length of the shot but also in the level of detail required to make the transformation feel both epic and intimate, given the tiny scale at which the events were unfolding.The initial concept provided by the editorial team was a broad outline, leaving us a lot of creative freedom, which was exciting but also demanding, given the timeline. We had to rapidly develop both the visual style and the technical approach, from conceptualizing how the energy would blend and move together to designing the Codexs gradual formation. The entire process required a great deal of experimentation to ensure that the energy felt alive and dynamic while still maintaining a sense of realism.To bring the vision to life, Houdini played a crucial role in simulating the intricate fluid dynamics and the complex energy exchanges between the human and symbiote forces. Given the shots micro-scale, we had to focus on making every motion appear fluid and organic, yet precise. It required a balance of energy dynamics and texture detail to make the transition from raw energy to the solid form of the Codex feel seamless. The integration of the Codex with the Necrosword was another challenge, as we had to ensure that this final moment worked both technically and narratively.The key to overcoming these challenges was collaboration. Our animation, VFX, and compositing teams worked closely together, making sure each departments input was considered at every stage. This constant back-and-forth allowed us to refine the shot continuously. Nuke was instrumental in the final compositing, where we could fine-tune the lighting, textures, and colors to give the sequence its surreal, otherworldly feel, enhancing the mystical and dramatic qualities of the moment.Despite the complexity of the sequence, our ability to break it down into digestible steps and maintain a strong line of communication across teams helped us execute the shot on time without sacrificing the emotional or visual impact. It was a true team effort that pushed the boundaries of our creative and technical capabilities.How long have you worked on this show?SE: I was involved with the show for several months, with the bulk of the VFX work being done over a tight three-month period. The timeline was challenging, but it was during these intense months that we really focused on delivering the complex sequences, like the creation of the Codex. The pre-production phase gave us an opportunity to plan and set up the visual language, but the bulk of the execution from simulations in Houdini to compositing in Nuke was done in that concentrated three-month window.Despite the pressure of the timeline, the constant collaboration with Director Kelly Marcel and VFX Supervisors John Moffatt and Aharon Bourland ensured we were always aligned creatively, which allowed us to push through and deliver high-quality work in a short amount of time. It was a fast-paced, highly collaborative effort, but ultimately incredibly rewarding to see how everything came together.Whats the VFX shots count?SE: Digital Domain contributed to over 75 shots with 36 making it into the final feature.What is your next project?SE: Im currently the overall VFX Supervisor for New Line Cinema working with Director Michael Chaves on The Conjuring: Last Rites, which will be released this year.A big thanks for your time.WANT TO KNOW MORE?Digital Domain: Dedicated page about Venom: The Last Dance on Digital Domain website.John Moffatt and Aharon Bourland: Heres my interview of Production VFX Supervisors John Moffatt and Aharon Bourland. Vincent Frei The Art of VFX 2025

Breakdown & ShowreelsLight Shop: VFX Breakdown by Dexter StudiosBy Vincent Frei - 20/01/2025 What happens when the living and the dead converge? In Light Shop, the really cool visual effects crafted by Dexter Studios connect this world and the beyond through a dazzling light store that serves as a gateway between realms! Vincent Frei The Art of VFX 2025

Breakdown & ShowreelsSecret Level: The Company We Keep by Goodbye Kansas StudiosBy Vincent Frei - 17/01/2025 Discover the artistry of Goodbye Kansas Studios in this excellent clip from Episode 9 of Secret Level! Tim Millers animated anthology continues to amaze with its breathtaking visuals and storytelling!WANT TO KNOW MORE?Goodbye Kansas Studios: Dedicated page about Secret Level: The Company We Keep on Goodbye Kansas Studios website. Vincent Frei The Art of VFX 2025

Breakdown & ShowreelsBlack Doves: VFX Reel by DupeBy Vincent Frei - 17/01/2025 Behind every gripping scene in Black Doves lies the invisible visual effects crafted by Dupe. Whether creating immersive environments or amplifying tension with bullet impacts and explosions, their artistry brings Netflixs espionage drama to life!WANT TO KNOW MORE?Dupe VFX: Dedicated page about Black Doves on Dupe VFX website. Vincent Frei The Art of VFX 2025

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Breakdown & ShowreelsTransformers One: Animation Breakdown by ILMBy Vincent Frei - 16/01/2025 Witness the untold origin story of Optimus Prime and Megatron in Transformers One! ILMs really cool animation and visual effects bring Cybertron to life like never before, delivering epic battles and stunning visuals. Dont miss this incredible animated adventure!WANT TO KNOW MORE?ILM: Dedicated page about Transformers One on ILM website. Vincent Frei The Art of VFX 2025

InterviewsDune Prophecy: Mike Enriquez (Production VFX Supervisor) & Terron Pratt (Production VFX Producer)By Vincent Frei - 16/01/2025 In 2021, Mike Enriquez shared insights into the visual effects teams efforts on the inaugural season of Foundation. He later contributed to the second season before transitioning to work on Dune: Prophecy.After breaking down the visual effects of Stranger Things: Season 4 in 2022, Terron Pratt is now setting his sights on the epic world of Dune: Prophecy.What was your feeling to enter into the Dune universe?Mike Enriquez, VFX Supervisor: As a huge sci-fi fan, I was a bit incredulous when I was offered this show. I had just come off of two seasons of Foundation, and the opportunity to go from one sci-fi classic to another was massively exciting. Of course, after the excitement came the pressure of having to make sure the VFX in Dune: Prophecy properly carry forth the amazingly grounded yet fantastic look the Dune features have.Terron Pratt, VFX Producer: I had been following this project for a while, since around the time that the first feature was released, so I was very excited when I realized that the timing was going to work out for me to be involved in the project. Having spent 5 years with another beloved sci-fi series prior to Dune: Prophecy, I was looking forward to the challenges that a new sci-fi series would bring.How was the collaboration with the showrunner and the directors?Mike Enriquez: Alison Schapker was great to work with. She always made time for VFX and the discussions that needed to happen to dial in the feel of major shots and scenes. I was always amazed at her ability to go from one facet of the show to another and give her all, especially when our sessions would go for hours on end. Working with the directors was also a pleasure. Each had their own way of working, but all made sure VFX were able to do our jobs on set.Terron Pratt: Its one of the things I love most about working on series in VFX; we have a very close working relationship with both the directors and the showrunner. With a show like Dune: Prophecy, there is a lot of opportunity for VFX to be involved so when a director pitches an idea, we quickly get to work thinking about what that idea might look like in our world. How are we going to achieve this? Lets get previs going or additional concept art to flesh out the idea.Our showrunner, Alison Schapker, loves the filmmaking process but especially post. She understands the technical side of what we do but allows our team the freedom to run with an idea to make it great. Its a huge plus when your boss is also your biggest fan.How did you choose the various vendors and split the work amongst them?Mike Enriquez: Terron and I have a pretty good sense of the strengths of various VFX vendors, and thankfully we were able to lock down the vendors pretty early on for this show. That allowed us to use who we really wanted to use for the various parts of the show. The work split was a bit tricky, as there is a lot of crossover in terms of the effects in the show.Terron Pratt: All of the vendors that were involved in Dune: Prophecy have worked on several, if not all, of my previous projects. As such, I was very familiar with each teams strengths. Additionally, there seemed to be a natural split of the work by environment, which ended up being the perfect amount for each vendor while not overwhelming anyone on back-to-back episodes or overloading them with work on any one episode. For example, Important Looking Pirates (ILP) has done a tremendous amount of amazing organic environments for me in the past, so it was natural that theyd take on everything involving the Sisterhood Complex and the surrounding environment. As well, there is a great deal of comfort working with the team at ILP and I know that we can award them pretty much anything so they also took on all space shots, the burning flesh along with the Agony sequences. Rodeo FX brought the grandeur to the work around the Imperial Palace while my history with Accenture told me that theyd be the perfect fit for the extensive hard surface work at the spaceport as well as a number of one-off creative challenges. Image Engine had a wide variety of work this season since their workload did not include any one major environment that we returned to over and over. That said, theyve done a great deal of animation and simulation work for me in the past on Lost in Space, so they were a great choice for ALL of the Shai Hulud work as well Anirul amongst many other effects in the series. Our icy planet, Lankiveil, was masterfully brought to life by the team at Raynault VFX.What is your role on set and how do you work with other departments?Mike Enriquez: Working as a VFX supervisor on set can be tricky. You need to have an understanding of all the other departments and how they affect the work you need to do. You have to interface with the various departments and discuss the needs for the day, and then keep a constant eye on things to ensure that they dont deviate from the plan. That said, I very much enjoy being on set. I learn something new on every show I work on.My on-set team is an important part of working with other departments. Our data wranglers are always interfacing with other departments to ensure we have all the data we need to do our VFX work.Terron Pratt: On set, Im there to support my team and facilitate their needs so I try to focus my attention on the days or weeks leading up to the shoot; attending location and tech scouts as well as concept & bidding meetings, to make sure that we can find a good blend of VFX in support of production design, props and even the camera department.How did you approach designing the diverse ecosystems and terrains for the planets featured in Dune: Prophecy?Mike Enriquez: The general design and concept for the planets all came from descriptions in the books. Wallach IX is cold and rainy, with a blue-white sun. Salusa Secundus is sunny and temperate, at least before it is destroyed far in the future. Lankiveil is bleak and frozen, and Caladan is wet and lush.What were the biggest challenges in making each planet feel unique while staying cohesive within the Dune universe?Mike Enriquez: The main challenge in this regard was Zimia city on Salusa Secundus. It was tricky getting a sunny, temperate environment to feel like it belonged in Dune. We explored skies, color temperatures, various types of haze and atmosphere until we found something that felt right.How did the collaboration between the VFX and production design teams shape the look of the planets?Mike Enriquez: We worked closely with production designer Tom Meyer who provided designs for the various locations. On Salusa, Tom provided concepts of the Imperial Palace, the general coastline, the space port, and parts of the city. We then took those concepts and fleshed out the overall city layout, spaceport, and Zimia docks with Mackevision while we worked with Raynault to give life to our tighter aerials and ground level Zimia city scenes. In terms of the palace and Imperial Gardens, our friends at Rodeo tackled that task.For Wallach IX, the concepts from Tom were based on a quarry in Budapest and were brought to life with very little adjustments as it took shape. The final looks of Caladan and Lankiveil were also very close to the concept art.Which planet was the most technically complex to bring to life, and why?Mike Enriquez: Id have to say Salusa Secundus, as we not only had to build the massive palace and the dense gardens that surround it, but we also had to build out how that connects to Zimia city. The city itself required a build that was used for our distant skyline shots, and a separate build for our in city shots, along with the suspensor cars and foot traffic that goes with it. Additionally, we had to flesh out the spaceport and Zimia docks as several scenes took place there. This planet had a lot of moving parts and was tricky to parse in a way that would give us what we needed without overbuilding and wasting time and money.How did you balance practicality and imagination when designing the planetary environments?Mike Enriquez: Every location in this show needed to feel grounded. No matter what sci-fi component needed to be present, each place had to feel like somewhere you could go with materials you feel like you could reach out and touch. Many times, our aerial shots and establishers would just end up too pretty and idealistic, so wed pull back and try to find the right balance for each location.What role did lighting and atmosphere play in setting the tone for each planet?Mike Enriquez: Id say they played the most important role. Light quality and type of atmosphere were our main tools in differentiating the various planets. While we had structural differences between them, we needed a visual language for the planets. Wallach IX always has a blue tint and is often foggy or raining. Salusa Secundus has warm sunlight and fluffy clouds, with a steamier feel in the night scenes. Lankiveil was always soft, cold light with overcast skies and snow in the air. Lastly, on our brief visit to Caladan we leaned on the wilderness aspect, leaning towards filtered light and a more natural atmosphere.Were there any specific visual references or concept art that were pivotal in defining the planets environments?Mike Enriquez: I cant speak to the inspirations of Tom Meyer and his art department, but while figuring out where I wanted the finished look of our environment shots, I mostly turned to landscape photography. I really wanted our shots to feel natural. Of course, we always kept in mind the vibe of the recent Dune films since we wanted the show to feel like an extension of that world.Desmonds ability to burn people with his thoughts is visually striking. How did you conceptualize and execute the effects for this power?Mike Enriquez: We decided pretty early on that we didnt want any visible effect on Desmond while he was triggering the burning aside from the toll it takes on him we see in later episodes. However, the effect on the people was heavily discussed, and we went back and forth a bit on the progression of the effect on the victims as well as the severity at the peak of the effect. Each burning scene started with tracking the motion of the camera and actors so we could place a rudimentary burning effect on their skin throughout the scene to test out the progression and intensity. That allowed us to make the most of the effect in each scene to best play into the vibe Alison wanted. Each instance of burning was tailored to the scene to have the greatest impact.What inspired the visual style and intensity of Desmonds psychic energy during those scenes?Mike Enriquez: Given that the burning was driven internally, we tried to figure out what it might look like if someone was superheated from the inside, without any external heat source. We wanted to avoid anything that would take it into comic book superhero territory, or anything over the top like an internal light source. There isnt really any magic in Dune, so it had to have a scientifically grounded feel.The sandworms are iconic to the Dune universe. How did you reimagine their design while paying homage to the original material?Mike Enriquez: They really are iconic. I dont think you can say Dune without people thinking about sandworms. Given that we want to be in the same universe as the features, and sandworms are ancient beings that live for thousands of years, we stayed true to the sandworms portrayed in the feature. The sandworms in our show are the same design as what fans are accustomed to.Could you share the process of integrating the sandworms into their environment and making them feel alive?Mike Enriquez: We had to approach the Arrakis scenes in our show a bit differently than the features did. Since we did not shoot in the deserts of Jordan, we had to recreate the dunes of Arrakis in CG. Though that allowed us to completely integrate the Sandworm and the FX from the interaction with the sand with the environment. It was a lot of work, but Martyn Culpitt and his team over at Image Engine did a fantastic job.There is no real shortcut to creating shots of the sandworm in the sands of Arrakis. The desert environment had to be built first, so we had a photorealistic environment to place the worm into. The worm itself was quite an undertaking, as the way it needed to move required a rather unique rig to most creatures done in VFX. The way it bends, how the skin moves, how the mouth opens and closes, all of it needed to be sorted out given how featured the worm was going to be in our shots.Were there any unexpected technical or creative challenges encountered during the production?Mike Enriquez: Every production has its issues and unexpected challenges, and this one is no different. The intro sequence in episode 1 went through some creative changes that were challenging for VFX. The Agony ended up a bit different from the idea we had when we shot it, so it required a full CG replacement. Anirul was also quite a challenge, but perhaps that wasnt really unexpected. We knew visualizing the breeding index would be a mountain to climb.Terron Pratt: I think one of the biggest creative challenges that weve had this season was living up to the impressive visuals in the recent features along with the worlds that all of the fans have envisioned in their heads for so long. Creating something unique to our world but living up to those expectations puts a lot of pressure on the team and the creative process. We knew going in that wed be compared to the features but really hoped that wed carve our own path in the Dune Universe.Looking back on the project, what aspects of the visual effects are you most proud of?Mike Enriquez: Im really happy with how Wallach IX turned out. You cant differentiate the full CG shots from the shots using location photography at the quarry. Kudos to Philip Engstrom and his team at Important Looking Pirates.The Agony especially stands out in my mind. Im very happy with how that scene turned out. Additionally, the sandworm shots were very successful, as was Valyas vision in episode 6.Terron Pratt: There is a lot to be proud of this season and ALL of our creative teams around the world did a fantastic job so its hard to pick favorites. That said, seeing Shai Hulud breaching in the first few minutes of the series was a special treat and kind of set the tone for what was to come. But, as Mike mentioned, Wallch IX is amazing, and you cant tell where the practical environment ends, and the CG begins.The Agony was so creepy and a bit of a pivot in post so its a sequence that everyone was very excited to see come together, especially once sound design and music was added!The Zimia spaceport set was stunning in its own right, and Tom & team really did an incredible job with that build. Once the CG set & environment extension was complete, it really felt so expansive. I think it was one of the best collaborations between production design and VFX in the series.How long have you worked on this show?Mike Enriquez: I came onto this show in May of 2023, so about a year and a half.Terron Pratt: Ive been on the project since July of 2022Whats the VFX shots count?Terron Pratt: We ended up around 2800 shots over the 6 episodesA big thanks for your time.WANT TO KNOW MORE?Image Engine: Dedicated page about Dune: Prophecy on Image Engine website.Important Looking Pirates: Dedicated page about Dune: Prophecy on Important Looking Pirates website.Rodeo FX: Dedicated page about Dune: Prophecy on Rodeo FX website. Vincent Frei The Art of VFX 2025

Daredevil is back! Brace yourself for the highly anticipated return of the Man Without Fear in Daredevil: Born Again. The trailer is here, packed with intense action, gripping drama, and violent confrontations that will leave you on the edge of your seat!The VFX are made by:RISE (VFX Supervisor: Stuart Bullen)FOLKS (VFX Supervisor: Phil Prates)Phosphene (VFX Supervisor: Aaron Raff)Powerhouse VFX (VFX Supervisor: Dan Bornstein)Ghost VFXSoho VFXCantina CreativeAnibrainBase FXSDFXThe Third FloorThe Production VFX Supervisor is Gong Myung Lee.The Production VFX Producer is Fahed Alhabib.Showrunner: Dario ScardapaneRelease Date: March 4, 2025 (Disney+) Vincent Frei The Art of VFX 2025The post Daredevil: Born Again appeared first on The Art of VFX.

Breakdown & ShowreelsHitpig: Animation Reel by CinesiteBy Vincent Frei - 16/01/2025 Go behind the scenes with Cinesite to explore how they brought the world of Hitpig to life! Inspired by Berkeley Breatheds Pete & Pickles, the film combines painterly visuals with bold 80s aesthetics, creating a vibrant and dynamic animated experience!WANT TO KNOW MORE?Cinesite: Dedicated page about Hitpig on Cinesite website. Vincent Frei The Art of VFX 2025

AwardsThe EE BAFTA Film Awards 2025: The Special Visual Effects NomineesBy Vincent Frei - 15/01/2025 The BAFTA nominations are here! A special shout-out to the incredible talent behind this years Special Visual Effects nominees. From jaw-dropping worlds to seamless artistry, these teams are redefining whats possible on screen!Dont miss the winners reveal during the BAFTA ceremony on February 16! Vincent Frei The Art of VFX 2025

Movie & Games TrailersPrime TargetBy Vincent Frei - 15/01/2025 What if prime numbers held the key to the worlds secrets? Watch the trailer for Prime Target on Apple TV+ and dive into a thrilling race where one young mathematicians discovery could change everything!The VFX are made by:Union VFXDirector: Brady HoodRelease Date: January 22, 2025 (Apple TV+) Vincent Frei The Art of VFX 2025

From the visionary mind behind Cloud Atlas and Babylon Berlin comes Das Licht (The Light). Dive into the trailer now and experience the haunting beauty of a mystery waiting to unfold!The VFX are made by:RISE (VFX Supervisor: Jonathan Heine)Director: Tom TykwerRelease Date: March 20, 2025 (Germany) Vincent Frei The Art of VFX 2025The post Das Licht (The Light) appeared first on The Art of VFX.

The Visual Effects Society has unveiled the nominations for the 23rd Annual VES Awards! A huge congratulations to all the talented teams and artists whose groundbreaking work has been recognized. The winners will be presented on February 11, 2025 at The Beverly Hilton hotel.Check out the full list of nominees and celebrate the power of VFX!The nominees for the 23rdAnnual VES Awards in 25 categories are as follow:OUTSTANDING VISUAL EFFECTS IN A PHOTOREAL FEATUREBetter ManLuke MillarAndy TaylorDavid ClaytonKeith HerftPeter StubbsDune: Part TwoPaul LambertBrice ParkerStephen JamesRhys SalcombeGerd NefzerKingdom of the Planet of the ApesErik WinquistJulia NeighlyPaul StoryDanielle ImmermanRodney BurkeMufasa: The Lion KingAdam ValdezBarry St. JohnAudrey FerraraDaniel FotheringhamTwistersBen SnowMark SoperFlorian WitzelSusan GreenhowScott FisherOUTSTANDING SUPPORTING VISUAL EFFECTS IN A PHOTOREAL FEATUREBlitzAndrew WhitehurstSona PakTheo DemirisVincent PoitrasHayley WilliamsCivil WarDavid SimpsonMichelle RoseFreddy SalazarChris ZehJ.D. SchwalmHorizon: An American Saga Chapter 1Jason NeeseArmen FetulagianJamie NeeseJ.P. JaramilloNosferatuAngela BarsonLisa RenneyDavid ScottDave CookPavel SgnerYoung Woman and the SeaRichard BriscoeCarrie RishelJeremy RobertStphane DittooIvo JivkovOUTSTANDING VISUAL EFFECTS IN AN ANIMATED FEATUREInside Out 2Kelsey MannMark NielsenSudeep RangaswamyBill WatralMoana 2Carlos CabralTucker GilmoreIan GoodingGabriela HernandezThe Wild RobotChris SandersJeff HermannJeff BudsbergJacob Hjort JensenTransformers OneFrazer ChurchillFiona ChiltonJosh CooleyStephen KingUltraman: RisingHayden JonesSean M. MurphyShannon TindleMathieu VigOUTSTANDING VISUAL EFFECTS IN A PHOTOREAL EPISODEFallout; The HeadJay WorthAndrea KnollGrant EverettJoao SitaDevin MaggioHouse of the Dragon; Season 2; The Red Dragon and the GoldDai EinarssonTom HortonSven MartinWayne StablesMike DawsonSh?gun;AnjinMichael CliettMelody MeadPhilip EngstrmEd BruceCameron WaldbauerStar Wars: Skeleton Crew; Episode 5John KnollPablo MollesJhon AlvaradoJeff CapogrecoThe Lord of The Rings: The Rings of Power; Season 2; EldestJason SmithTim KeeneAnn PodloznyAra KhanikianRyan ConderOUTSTANDING SUPPORTING VISUAL EFFECTS IN A PHOTOREAL EPISODEExpats: HomeRobert BockGlorivette SomozaCharles LabbTim EmeisLady in the Lake; It Has to Do With the Search for the MarvelousJay WorthEddie BoninJoe WehmeyerEric Levin-HatzMike MyersMasters of the Air; Part Three; The Regensburg-Schweinfurt MissionStephen RosenbaumBruce FranklinXavier Matia BernasconiDavid AndrewsNeil CorbouldThe Penguin; BlissJohnny HanMichelle RoseGoran PavlesEd BruceDevin MaggioThe Tattooist of Auschwitz; PilotSimon GilesAlan ChurchDavid SchneiderJames HattsmithOUTSTANDING VISUAL EFFECTS IN A REAL-TIME PROJECT[REDACTED]Fabio SilvaMatthew ShermanCaleb EssexBob KopinskyDestiny 2: The Final ShapeDave SamuelBen FabricEric GreenliefGlenn GambleStar Wars OutlawsStephen HawesLionel Le DainBenedikt PodlesniggBogdan DraghiciWhat If? An Immersive StoryPatrick N.P. ConranShereif FattouhZain HomerJax LeeUntil DawnNicholas ChambersJack Hidde GlavimansAlex GaborOUTSTANDING VISUAL EFFECTS IN A COMMERCIALYouTube TV NFL Sunday Ticket: The Magic of SundayChris BayolJeremy BrooksLane JollyJacob BergmanDisney; Holidays 2024Adam DroyHelen TangChristian Baker-SteeleDavid FleetVirgin Media; Walrus WhizzerSebastian CaldwellIan BerryBen CroninAlex GreyCoca-Cola; The HeroesGreg McKneallyAntonia VlastoRyan KnowlesFabrice FiteniSix Kings Slam; Call of the KingsRyan KnowlesJoe BillingtonDean RobinsonGeorge SavvasOUTSTANDING VISUAL EFFECTS IN A SPECIAL VENUE PROJECTD23; Real-Time RocketEvan GoldbergAlyssa FinleyJason BrenemanAlice TaylorThe Goldau Landslide ExperienceRoman KaelinGianluca RavioliFlorian BaumannMTV Video Music Awards; Slim Shady LiveJo PlaeteSara MustafaCameron JacksonAndries CourteauxTokyo DisneySea; Peter Pans Never Land AdventureMichael Sean FoleyKirk BodyfeltDarin HollingsBert KleinMaya VyasParis Olympics Opening Ceremony; RunBenjamin Le SterGilles De LusigmanGerome ViavantRomain TinturierOUTSTANDING CHARACTER IN A PHOTOREAL FEATUREBetter Man; Robbie WilliamsMilton RamirezAndrea MerloSeoungseok Charlie KimEteuati TemaKingdom of the Planet of the Apes; NoaRachael DunkAndrei CovalJohn SoreNiels Peter KaagaardKingdom of the Planet of the Apes; RakaSeoungseok Charlie KimGiorgio LafrattaTim TeramotoAidan MartinMufasa: The Lion King; TakaKlaus SkovboValentina RosselliEli De KoninckAmelie TalarmainOUTSTANDING CHARACTER IN AN ANIMATED FEATUREInside Out 2; AnxietyAlexander AlvaradoBrianne FranciscoAmanda WagnerBrenda Lin ZhangThe Wild Robot; RozFabio LigniniYukinori InagakiOwen DemersHyun HuhThelma The Unicorn; Vic DiamondGuillaume ArantesAdrien MonteroAnne-Claire LerouxGaspard RocheWallace & Gromit: Vengeance Most Fowl; GromitJo FentonAlison EvansAndy SymanowskiEmanuel NevadoOUTSTANDING CHARACTER IN AN EPISODE, COMMERCIAL, GAME CINEMATIC, OR REAL-TIME PROJECTSecret Level; Armored Core: Asset Management; Mech PilotZsolt VidaPter Krucsaignes VonaEnric Nebleza PaellaDiablo IV: Vessel of Hatred; NeyrelleChris BostjanickJames MaYeon-Ho LeeAtsushi IkarashiDisney; Holidays 2024; OctopusAlex DoylePhilippe MoineLewis PickstonAndrea LacedelliRonja the Robbers Daughter; Vildvittran the Queen HarpyNicklas AnderssonDavid AllanGustav hrenNiklas WallnOUTSTANDING ENVIRONMENT IN A PHOTOREAL FEATURECivil War; Washington, D.C.Matthew ChandlerJames HarmerRobert MooreAdrien ZeppieriDune: Part Two; The Arrakeen BasinDaniel RheinDaniel Anton FernandezMarc James AustinChristopher AnciaumeGladiator II; RomeOliver KaneStefano FarciJohn SeruFrederick ValleeWicked; The Emerald CityAlan LamSteve BevinsDeepali NegiMiguel Sanchez Lpez-RuzOUTSTANDING ENVIRONMENT IN AN ANIMATED FEATUREKung Fu Panda 4; Juniper CityBenjamin LippertRyan PrestridgeSarah VawterPeter MaynezThe Wild Robot; The ForestJohn WakeHe Jung ParkWoojin ChoiShane GladingTransformers One; Iacon CityAlex PopescuGeoffrey LebretonRyan KirbyHussein NabeelWallace & Gromit: Vengeance Most Fowl; AqueductMatt PerryDave Alex RiddettMatt SandersHoward JonesOUTSTANDING ENVIRONMENT IN AN EPISODE, COMMERCIAL, GAME CINEMATIC, OR REAL-TIME PROJECTDune: Prophecy; Pilot; The Imperial PalaceScott CoatesSam BesseauVincent lHeureuxLourenco AbreuDune: Prophecy; Two Wolves; Zimia SpaceportNils WeisbrodDavid AnastacioRene BorstRuben ValenteSh?gun;OsakaManuel MartinezPhil HanniganKeith MaloneFrancesco CorvinoThe Lord of the Rings: The Rings of Power; Season 2; Doomed to Die; EregionYordan PetrovBertrand CabrolLea DesrozierKaran DhandhaOUTSTANDING CG CINEMATOGRAPHYBetter ManBlair BurkeShweta BhatnagarTim WalkerCraig YoungDune: Part Two; ArrakisGreig FraserXin Steve GuoSandra MurtaBen WiggsHouse of the Dragon; Season 2; The Red Dragon and the Gold; Battle at Rooks RestMatt PerrinJames ThompsonJacob DoehnerP.J. DillonKingdom of the Planet of the Apes ; Egg ClimbDennis YooAngelo PerrottaSamantha ErickstadMiae KangOUTSTANDING MODEL IN A PHOTOREAL OR ANIMATED PROJECTAlien: Romulus; Renaissance Space StationWaldemar BartkowiakTrevor WideMatt MiddletonBen ShearmanDeadpool & Wolverine; Ant-Man ArenaCarlos Flores GomezCorinne DyChris ByrnesGerald BlaiseDune: Part Two; The Harkonnen HarvesterAndrew HodgsonTimothy RussellErik LehmannLouie ChoGladiator II; The ColosseumOliver KaneMarnie PittsCharlotte FargierLaurie PriestOUTSTANDING EFFECTS SIMULATIONS IN A PHOTOREAL FEATUREDune: Part Two; Atomic Explosions and WormridingNicholas PapworthSandy la TourelleLisa NolanChristopher PhillipsKingdom of the Planet of the Apes; Burning Village, Rapids and FloodsAlex NowotnyClaude SchitterFrdric ValleurKevin KelmTwistersMatthew HangerJoakim ArnessonLaurent KermelZheng Yong OhVenom: The Last Dance; Water, Fire & Symbiote EffectsXavi Martin RamirezOscar DahlenHedi NamarYuri YangOUTSTANDING EFFECTS SIMULATIONS IN AN ANIMATED FEATUREKung Fu Panda 4Jinguang HuangZhao WangHamid ShahsavariJoshua LaBrotMoana 2Zoran StojanoskiJesse EricksonShamintha Kalamba ArachchiErin V. RamosThe Wild RobotDerek CheungMichael LosureDavid ChowNyoung KimUltraman: RisingGoncalo CabacaZheng Yong OhNicholas Yoon Joo KuangPraveen BoppanaOUTSTANDING EFFECTS SIMULATIONS IN AN EPISODE, COMMERCIAL, GAME CINEMATIC, OR REAL-TIME PROJECTAvatar: The Last Airbender; Legends; KoizillaIoan BoieriuDavid StopfordPer BalaySaysana RintharamySh?gun;Broken to the Fist; LandslideDominic TiedekenHeinrich LweCharles GuertonTimmy LundinStar Wars: Skeleton Crew; Pilot; Spaceship Hillside TakeoffTravis HarkleroadXiaolong PengMarcella BrownMickael RiciottiThe Lord of the Rings: The Rings of Power; Season 2; Shadow and Flame; Balrog Fire and Collapsing CliffKoenraad HofmeesterMiguel Perez SenentMiguel Santana Da SilvaBilly CopleyThree Body Problem; Judgement DayYves DIncauGavin TemplerMartin ChabannesEloi Andaluz FullOUTSTANDING COMPOSITING & LIGHTING IN A FEATUREBetter ManMark McNichollGordon Spencer de HasethEva SnyderMarkus ReithofferDune: Part Two; Wormriding, Geidi Prime, and the Final BattleChristopher RickardFrancesco DellAnnaPaul ChapmanRyan WingKingdom of the Planet of the ApesJoerg BruemmerZachary BrakeTim WalkerKaustubh A. PatilThe Wild RobotSondra L. VerlanderBaptiste Van OpstalEszter OffertalerAustin CasaleOUTSTANDING COMPOSITING & LIGHTING IN AN EPISODESh?gun;Broken to the Fist; LandslideBenjamin BernonDouglas RoshamnVictor KirschCharlie RaudStar Wars: Skeleton Crew; Episode 6; JawsRich GrandeTomas LefebvreIan DodmanRey ReynoldsThe Boys; Season 4; Life Among the SepticsTristan ZerafaMike StadnyckyjToshi KosakaRajeev BRThe Penguin; After HoursJonas StuckenbrockKaren ChangEugene BondarMiky GirnOUTSTANDING COMPOSITING & LIGHTING IN A COMMERCIALVirgin Media; Walrus WhizzerSebastian CaldwellAlex GreyKanishk ChouhanShubham MehtaCoca-Cola; The HeroesRyan KnowlesAlex GabucciJack PowellDan YarcigiCorcept; MarionetteYongchan KimArman MatinYoon BaeRajesh KaushikDisney; Holidays 2024Christian Baker-SteeleLuke WarpusPritesh KotianJack HarrisOUTSTANDING SPECIAL (PRACTICAL) EFFECTS IN A PHOTOREAL PROJECTBlitzHayley WilliamsDavid EvesAlex FreemanDavid WatsonConstellationMartin GoeresJohara RaukampLion David BogusLeon MarkThe Penguin; Safe GunsDevin MaggioJohnny HanCory CandrilliAlexandre ProdhommeEMERGING TECHNOLOGY AWARDDune: Part Two; Nuke CopyCatBen KentGuillaume GalesMairead GroganJohanna BarbierFuriosa: A Mad Max Saga; Artist-driven Machine Learning CharacterJohn BastianBen WardThomas RowntreeRobert BeveridgeHere; Neural Performance ToolsetJo PlaeteOriel FrigoTomas KoutskyMatteo Oliviero DancyMufasa: The Lion King; Real-Time Interactive Filmmaking, From Stage To PostCallum JamesJames HoodLloyd BishopBruno PedrinhaThe Penguin; Phase Synced Flash-Gun SystemJohnny HanJefferson HanJoseph MenafraMichael PynnOUTSTANDING VISUAL EFFECTS IN A STUDENT PROJECTDawn(entry from ESMA cole Suprieure Des Mtiers Artistiques)Noah MercierApolline RoyerLorys StoraMarie PradeillesStudent Accomplice(entry from Brigham Young University)Spencer BlanchardLisa BirdAnson SavageKiara SpencerPittura(entry from ARTFX Schools of Digital Arts)Lauriol AdamLassre TitouanVivenza RmiMarre HellosCourage(entry from Supinfocom Rubika)Salom CognonMargot JacquetNathan BaudryLise Delcroix Vincent Frei The Art of VFX 2024

InterviewsRed One: Chris Waegner VFX Supervisor Sony Pictures ImageworksBy Vincent Frei - 14/01/2025 Back in 2019, Chris Waegner shared insights into Sony Pictures Imageworks visual effects work on Men in Black: International. Following that, he contributed to major productions, including Zombieland: Double Tap, The Falcon and the Winter Soldier, Spider-Man: No Way Home, and Guardians of the Galaxy Vol. 3.How was this new collaboration with Director Jake Kasdan and withVFXSupervisor Jerome Chen?The team at Sony Pictures Imageworks had a great experience working with Director Jake Kasdan and VFX Supervisor Jerome Chen. Early in the filmmaking process, the Imageworks team was asked to help with several creative aspects on the film which expanded our role. Our teams took on a larger pre-vis/post-vis role throughout the show helping them visualize new ideas and hash out existing concepts.How did you organizethework with yourVFXProducer?Our scope of work on the project grew quite exponentially. In situations like this, it is paramount to work together balancing available artist pool against production deadlines and final delivery of such a project.What arethesequences made by Sony Pictures Imageworks?We completed just over 700 shots on the project and some of our larger sequences were the Aruba Snowman Battle, Robot Fight, Globing of Jack and Dylan and the final Runway Battle with Gryla. Each of the sequences were so difference and had their own particular set of challenges.How did you approach balancing realism withthefantastical elementsofthestory?Theres always a challenge balancing realism and magical/fantastical elements in a movie like Red One. Its important to the filmmakers that the audience stays engaged with the story, therefore creative collaboration, close communication and frequent reviews with the Director and VFX Supervisor are critical.What werethebiggest challenges you faced in designing and animatingthekey characters and environments?One sequence that comes to mind is the Aruba Snowman Battle where theres this stunning visual juxtaposition of snowmen in the tropical setting of Aruba. It was a pretty big endeavor for our team to figure out how these snowmen assassins would move, let alone what these snowmen assassins would look like in this tropical beach location. Theres literally no practical or visual reference to rely upon because snowmen dont exist in hot tropical locations, so the Aruba Snowman Battle became a fun creative challenge for our teams.How did you collaborate with other departments, such as production design or costume, to ensure visual consistency?Since Imageworks was one of the initial creative vendors on the project, we were on location with the film crews at several different locations. We had early access to set designs, costume material booklets, hundreds of scans and tons of photo reference which is a wealth of knowledge when doing a film of this scale.What inspiredthedesignofthesnowmen, and how did you ensure they felt both magical and believable?Throughout the course of the show, the snowmen characters went through several different design iterations. Originally, their design had more of an ice ninja look but as animation testing progressed, they evolved into a more traditional snowman design. Each one having unique physical design characteristics, different ice weapon components and various traditional wardrobe accessories like a top hat, carrot nose, corncob pipe, etc.Could you elaborate ontheanimation process forthesnowmen? How did you bring their personalities to life?We started initial animation testing with the original character concept, a smaller leaner ice ninja design. It soon became apparent this design wasnt quite working as expected for our filmmakers so we started exploring several new snowman designs. These new snowmen design slowly evolved into a more traditional look and their physical presence became much larger in scale. Bringing the snowmen to life then became an iterative process for our animation team by determining how theyd move and emote. Each snowman also had a full facial rig but the extensive animation testing helped us determine if they emoted too much, they started looking cartoony and became less threatening. We then determined that a deadpan/stoic look with subtle facial movements worked well with their menacing physical qualities.Snow can be a challenging material to simulatehow did you achievetheright balanceoftexture and movement forthesnowmen?Working closely with our film makers we determined the snowmen could not be composed entirely of pure white fluffy snow. These big burly snowmen needed a unique look, which was a combination of snow, chucks of ice, dirt debris and fine ice crystals we also incorporated a subtle crystalline light scatter effect and some snowy subsurface details. As the sequence progresses, they also start accumulating more dirt, debris and little bits of the tropical environment stick to them.Were there any practical effects combined with CG forthesnowmen, or were they fully digital creations?Unfortunately, there werent a lot of practical affects we could utilize for the Snowman fight sequence due to their physical size and fight choreography, so for most of the sequence they were digital creations. The fight in the cantina, the cantina explosion and the end of the sequence is a great example of practical effects working well in the sequence.How didthesnowmen interact with live actors or environments, and how did you ensure seamless integration?Early pre-vis animation played a key role helping the filmmakers, stunts and camera teams plan out the snowmen fight sequence. Stuntmen posing as snowmen were vital in acting out key shots with our heroes Cal and Jack for the plate photography. Detailed rotomation of our heroes and stuntmen was necessary to ensure seamless integration could be achieved when our heroes physically interacted with the digital snowmen.Grylas design is visually striking. What influenced her look, and how did you bring her character to life through visual effects?Gryla has a long history in Icelandic Christmas folklore.Our filmmakers used this as inspiration but crafted their own version of Gryla unique to the movie. Our Gryla is 18 feet tall with a decrepit hunched over physical appearance, Minotaur-type legs and two lengthy tails. One challenge the animation team had to overcome was making her appear to be a formidable adversary to our heroes due to her decrepit hunched over pose. We used her tails as a physical counterbalance to her posture and the tails themselves became prehensile weapons. At first glance, she seems old and decrepit but then you realize that shes quite spry and can move very fast during battle.Were there any motion capture or performance reference techniques used for animating Gryla?We used key frame animation for Grylas body performance and incorporated a head-mounted camera on Kiernan Shipka to capture for facial performance. Capturing the essence of Kiernans performance was key and then determining the correct balance required for the shots was essential since the structural differences between Kiernan and giant Gryla was quite different.How did you ensure Grylas interactions withtheenvironment and other characters felt natural and grounded?Grylas unique design and mainly her being 18 feet tall definitely had its own set of unique challenges. Lots of planning while on set, detailed lidar set acquisition and onset HDRI reference was helpful in keeping things grounded. Another challenge was keeping our audience completely engaged in the story and not letting the presence of an 18 foot tall character take them out of the moment. Seamless visual integration by all our teams was paramount in helping us achieve this for our audience.What werethemost complex sequences involving Gryla, and how did you tackle them?Some of the more complex moments and shots with Gryla are when she had to physically interact with our heroes Cal and Jack. Again, detailed shot planning while on set is essential anytime you have live action actors physically interacting with digital characters. It really requires the attention of everyone on set to help plan out these shots so months later you dont encounter insurmountable problems while in post-production.TheNorth Pole is a vital setting inthestory. How did you conceptualize and create this iconic environment, and what role did visual effects play in bringing it to life?We were one of two vendors working on the North Pole City and our portion of the North Pole sequence showcased mostly the runway, North Pole Tower and surrounding Tower locations. Our environments team focused attention on high altitude city views, looking down at the city below and wide panoramic vistas. We created our own customized version of the North Pole City specifically designed and catered to our shot needs. As post-production progressed, a constant visual balance between vendors was necessary in order to ensure the North Pole look was visually consistent, realistic and maintained its magical qualities.Were there any unexpected technical or creative challenges encountered duringtheproduction?Large visual effects film like this always have some challenges for the creative teams as production progresses. I think the biggest challenge on this film was ensuring seamless visuals for our viewing audiences across all sequences. This movie has many magical and fantastical elements and keeping the visuals grounded in reality makes for a wonderful viewing experience.Looking back ontheproject, what aspectsofthevisual effects are you most proudof?Im very proud of all of the work our team was able to accomplish on Red One especially our Snowmen assassins and North Pole runway with the Gryla monster in particular. Our filmmakers had very high visual expectations knowing that this film would become a holiday classic going forward for many years and resonating with many generations.How long have you worked on this show?I was crewed to Red One for over two years and feel fortunate to have been crewed to the project starting in January 2022.WhatstheVFXshots count?Our team worked on over 700 shots for this film.A big thanks for your time.WANT TO KNOW MORE?Sony Pictures Imageworks: Dedicated page about Red One on Sony Pictures Imageworks website. Vincent Frei The Art of VFX 2025

Breakdown & ShowreelsAlien Romulus: VFX Breakdown by ILMBy Vincent Frei - 14/01/2025 The terrifying beauty of Alien: Romulus lies in its visual storytelling. ILM redefines sci-fi horror with meticulously crafted ships, a breathtaking station, and the ultimate terror: Facehuggers and Xenomorphs, ready to haunt your dreams!WANT TO KNOW MORE?ILM: Dedicated page about Alien: Romulus on ILM website.Eric Barba: Heres my interview of Production VFX Supervisor Eric Barba. Vincent Frei The Art of VFX 2025

Breakdown & ShowreelsThe Six Triple Eight: VFX Breakdown by Scanline VFXBy Vincent Frei - 14/01/2025 Explore the variety of the visual effects crafted by Scanline VFX in The Six Triple Eight, where planes, environments and powerful imagery depict the devastation of World War II. From ruined cities to the courage of 855 women overcoming adversity, these VFX transport viewers into a pivotal moment in history! Vincent Frei The Art of VFX 2025

Breakdown & ShowreelsHere: VFX Making of by VFX Supervisor Kevin BaillieBy Vincent Frei - 13/01/2025 Go behind the scenes of Here with Production VFX Supervisor Kevin Baillie as he unveils the cutting-edge technology used to create the stunning visual effects (made by Metaphysic, DNEG, Luma Pictures and Crafty Apes) in Robert Zemeckis latest cinematic masterpiece. Discover how the team pushed the boundaries of storytelling through visual effects!WANT TO KNOW MORE?DNEG: Dedicated page about Here on DNEG website. Vincent Frei The Art of VFX 2025

Breakdown & ShowreelsGladiator II: VFX Breakdown by ILMBy Vincent Frei - 13/01/2025 Gladiator II delivers unparalleled action, thanks to ILMs really cool visual effects. From warships laying siege to a fortress to the grandeur of the Colosseum and the epic finale between two armies, every moment is a visual feast. Dive into the legend now!WANT TO KNOW MORE?ILM: Dedicated page about Gladiator II on ILM website.Mark Bakowski: Heres my interview of Production VFX Supervisor Mark Bakowski. Vincent Frei The Art of VFX 2024

Breakdown & ShowreelsSecret Level The Company We Keep: Making of by Goodbye Kansas StudiosBy Vincent Frei - 10/01/2025 Dive into the world of animation with Goodbye Kansas Studios as they break down the creative process behind The Company We Keep. This behind-the-scenes series of making-of videos showcases the effort and artistry involved in bringing Tim Millers Secret Level to life!WANT TO KNOW MORE?Goodbye Kansas Studios: Dedicated page about Secret Level: The Company We Keep on Goodbye Kansas Studios website. Vincent Frei The Art of VFX 2025

Explore the unique blend of humor and horror in Bhool Bhulaiyaa 3. Redchillies VFX brings the story to life with their really cool visual effects, from eerie haunted settings to playful supernatural elements! Vincent Frei The Art of VFX 2025The post Bhool Bhulaiyaa 3: VFX Breakdown by Redchillies VFX appeared first on The Art of VFX.

Breakdown & ShowreelsBambi, lhistoire dune vie dans les bois: VFX Breakdown by AutrechoseBy Vincent Frei - 10/01/2025 The invisible visual effects work by Autrechose in Bambi, lhistoire dune vie dans les bois blends seamlessly with the films world, adding layers of realism to the forest scenes and character movements without overshadowing the narrative! Vincent Frei The Art of VFX 2025

Breakdown & ShowreelsSkeleton Crew: Bringing Mama Crab to LifeBy Vincent Frei - 09/01/2025 Last week, we gave you a sneak peek into the making of the incredible Mama Crab from Star Wars: Skeleton Crew. Now, lets dive deeper into the process with this really cool featurette showcasing Tippett Studios artistry and the teams dedication in bringing this remarkable creature to life! Vincent Frei The Art of VFX 2025