After detailing the VFX work on The Last of Us Season 1 in 2023, Alex Wang returns to reflect on how the scope and complexity have evolved in Season 2. With close to 30 years of experience in the visual effects industry, Fiona Campbell Westgate has contributed to major productions such as Ghost in the Shell, Avatar: The Way of Water, Ant-Man and the Wasp: Quantumania, and Nyad. Her work on Nyad earned her a VES Award for Outstanding Supporting Visual Effects in a Photoreal Feature. Collaboration with Craig Mazin and Neil Druckmann is key to shaping the visual universe of The Last of Us. Can you share with us how you work with them and how they influence the visual direction of the series? Alex Wang // Craig visualizes the shot or scene before putting words on the page. His writing is always exceptionally detailed and descriptive, ultimately helping us to imagine the shot. Of course, no one understands The Last of Us better than Neil, who knows all aspects of the lore very well. He’s done much research and design work with the Naughty Dog team, so he gives us good guidance regarding creature and environment designs. I always try to begin with concept art to get the ball rolling with Craig and Neil’s ideas. This season, we collaborated with Chromatic Studios for concept art. They also contributed to the games, so I felt that continuity was beneficial for our show. Fiona Campbell Westgate // From the outset, it was clear that collaborating with Craig would be an exceptional experience. Early meetings revealed just how personable and invested Craig is. He works closely with every department to ensure that each episode is done to the highest level. Craig places unwavering trust in our VFX Supervisor, Alex Wang. They have an understanding between them that lends to an exceptional partnership. As the VFX Producer, I know how vital the dynamic between the Showrunner and VFX Supervisor is; working with these two has made for one of the best professional experiences of my career.  Photograph by Liane Hentscher/HBO How has your collaboration with Craig evolved between the first and second seasons? Were there any adjustments in the visual approach or narrative techniques you made this season? Alex Wang // Since everything was new in Season 1, we dedicated a lot of time and effort to exploring the show’s visual language, and we all learned a great deal about what worked and what didn’t for the show. In my initial conversations with Craig about Season 2, it was clear that he wanted to expand the show’s scope by utilizing what we established and learned in Season 1. He felt significantly more at ease fully committing to using VFX to help tell the story this season. The first season involved multiple VFX studios to handle the complexity of the effects. How did you divide the work among different studios for the second season? Alex Wang // Most of the vendors this season were also in Season 1, so we already had a shorthand. The VFX Producer, Fiona Campbell Westgate, and I work closely together to decide how to divide the work among our vendors. The type of work needs to be well-suited for the vendor and fit into our budget and schedule. We were extremely fortunate to have the vendors we did this season. I want to take this opportunity to thank Weta FX, DNEG, RISE, Distillery VFX, Storm Studios, Important Looking Pirates, Blackbird, Wylie Co., RVX, and VDK. We also had ILM for concept art and Digital Domain for previs. Fiona Campbell Westgate // Alex Wang and I were very aware of the tight delivery schedule, which added to the challenge of distributing the workload. We planned the work based on the individual studio’s capabilities, and tried not to burden them with back to back episodes wherever possible. Fortunately, there was shorthand with vendors from Season One, who were well-acquainted with the process and the quality of work the show required. The town of Jackson is a key location in The Last of Us. Could you explain how you approached creating and expanding this environment for the second season? Alex Wang // Since Season 1, this show has created incredible sets. However, the Jackson town set build is by far the most impressive in terms of scope. They constructed an 822 ft x 400 ft set in Minaty Bay that resembled a real town! I had early discussions with Production Designer Don MacAulay and his team about where they should concentrate their efforts and where VFX would make the most sense to take over. They focused on developing the town’s main street, where we believed most scenes would occur. There is a big reveal of Jackson in the first episode after Ellie comes out of the barn. Distillery VFX was responsible for the town’s extension, which appears seamless because the team took great pride in researching and ensuring the architecture aligned with the set while staying true to the tone of Jackson, Wyoming. Fiona Campbell Westgate // An impressive set was constructed in Minaty Bay, which served as the foundation for VFX to build upon. There is a beautiful establishing shot of Jackson in Episode 1 that was completed by Distillery, showing a safe and almost normal setting as Season Two starts. Across the episodes, Jackson set extensions were completed by our partners at RISE and Weta. Each had a different phase of Jackson to create, from almost idyllic to a town immersed in Battle.  What challenges did you face filming Jackson on both real and virtual sets? Was there a particular fusion between visual effects and live-action shots to make it feel realistic? Alex Wang // I always advocate for building exterior sets outdoors to take advantage of natural light. However, the drawback is that we cannot control the weather and lighting when filming over several days across two units. In Episode 2, there’s supposed to be a winter storm in Jackson, so maintaining consistency within the episode was essential. On sunny and rainy days, we used cranes to lift large 30x60ft screens to block the sun or rain. It was impossible to shield the entire set from the rain or sun, so we prioritized protecting the actors from sunlight or rain. Thus, you can imagine there was extensive weather cleanup for the episode to ensure consistency within the sequences. Fiona Campbell Westgate // We were fortunate that production built a large scale Jackson set. It provided a base for the full CG Jackson aerial shots and CG Set Extensions. The weather conditions at Minaty Bay presented a challenge during the filming of the end of the Battle sequence in Episode 2. While there were periods of bright sunshine, rainfall occurred during the filming of the end of the Battle sequence in Episode 2. In addition to the obvious visual effects work, it became necessary to replace the ground cover. Photograph by Liane Hentscher/HBO The attack on Jackson by the horde of infected in season 2 is a very intense moment. How did you approach the visual effects for this sequence? What techniques did you use to make the scale of the attack feel as impressive as it did? Alex Wang // We knew this would be a very complex sequence to shoot, and for it to be successful, we needed to start planning with the HODs from the very beginning. We began previs during prep with Weta FX and the episode’s director, Mark Mylod. The previs helped us understand Mark and the showrunner’s vision. This then served as a blueprint for all departments to follow, and in many instances, we filmed the previs. Fiona Campbell Westgate // The sheer size of the CG Infected Horde sets the tone for the scale of the Battle. It’s an intimidating moment when they are revealed through the blowing snow. The addition of CG explosions and atmospheric effects contributed in adding scale to the sequence.  Can you give us an insight into the technical challenges of capturing the infected horde? How much of the effect was done using CGI, and how much was achieved with practical effects? Alex Wang // Starting with a detailed previs that Mark and Craig approved was essential for planning the horde. We understood that we would never have enough stunt performers to fill a horde, nor could they carry out some stunts that would be too dangerous. I reviewed the previs with Stunt Coordinator Marny Eng numerous times to decide the best placements for her team’s stunt performers. We also collaborated with Barrie Gower from the Prosthetics team to determine the most effective allocation of his team’s efforts. Stunt performers positioned closest to the camera would receive the full prosthetic treatment, which can take hours. Weta FX was responsible for the incredible CG Infected horde work in the Jackson Battle. They have been a creative partner with HBO’s The Last of Us since Season 1, so they were brought on early for Season 2. I began discussions with Weta’s VFX supervisor, Nick Epstein, about how we could tackle these complex horde shots very early during the shoot. Typically, repetition in CG crowd scenes can be acceptable, such as armies with soldiers dressed in the same uniform or armour. However, for our Infected horde, Craig wanted to convey that the Infected didn’t come off an assembly line or all shop at the same clothing department store. Any repetition would feel artificial. These Infected were once civilians with families, or they were groups of raiders. We needed complex variations in height, body size, age, clothing, and hair. We built our base library of Infected, and then Nick and the Weta FX team developed a “mix and match” system, allowing the Infected to wear any costume and hair groom. A procedural texturing system was also developed for costumes, providing even greater variation. The most crucial aspect of the Infected horde was their motion. We had numerous shots cutting back-to-back with practical Infected, as well as shots where our CG Infected ran right alongside a stunt horde. It was incredibly unforgiving! Weta FX’s animation supervisor from Season 1, Dennis Yoo, returned for Season 2 to meet the challenge. Having been part of the first season, Dennis understood the expectations of Craig and Neil. Similar to issues of model repetition within a horde, it was relatively easy to perceive repetition, especially if they were running toward the same target. It was essential to enhance the details of their performances with nuances such as tripping and falling, getting back up, and trampling over each other. There also needed to be a difference in the Infected’s running speed. To ensure we had enough complexity within the horde, Dennis motion-captured almost 600 unique motion cycles. We had over a hundred shots in episode 2 that required CG Infected horde. Fiona Campbell Westgate // Nick Epstein, Weta VFX Supervisor, and Dennis Yoo, Weta Animation Supervisor, were faced with having to add hero, close-up Horde that had to integrate with practical Stunt performers. They achieved this through over 60 motion capture sessions and running it through a deformation system they developed. Every detail was applied to allow for a seamless blend with our practical Stunt performances. The Weta team created a custom costume and hair system that provided individual looks to the CG Infected Horde. We were able to avoid the repetitive look of a CG crowd due to these efforts. The movement of the infected horde is crucial for the intensity of the scene. How did you manage the animation and simulation of the infected to ensure smooth and realistic interaction with the environment? Fiona Campbell Westgate // We worked closely with the Stunt department to plan out positioning and where VFX would be adding the CG Horde. Craig Mazin wanted the Infected Horde to move in a way that humans cannot. The deformation system kept the body shape anatomically correct and allowed us to push the limits from how a human physically moves.  The Bloater makes a terrifying return this season. What were the key challenges in designing and animating this creature? How did you work on the Bloater’s interaction with the environment and other characters? Alex Wang // In Season 1, the Kansas City cul-de-sac sequence featured only a handful of Bloater shots. This season, however, nearly forty shots showcase the Bloater in broad daylight during the Battle of Jackson. We needed to redesign the Bloater asset to ensure it looked good in close-up shots from head to toe. Weta FX designed the Bloater for Season 1 and revamped the design for this season. Starting with the Bloater’s silhouette, it had to appear large, intimidating, and menacing. We explored enlarging the cordyceps head shape to make it feel almost like a crown, enhancing the Bloater’s impressive and strong presence. During filming, a stunt double stood in for the Bloater. This was mainly for scale reference and composition. It also helped the Infected stunt performers understand the Bloater’s spatial position, allowing them to avoid running through his space. Once we had an edit, Dennis mocapped the Bloater’s performances with his team. It is always challenging to get the motion right for a creature that weighs 600 pounds. We don’t want the mocap to be overly exaggerated, but it does break the character if the Bloater feels too “light.” The brilliant animation team at Weta FX brought the Bloater character to life and nailed it! When Tommy goes head-to-head with the Bloater, Craig was quite specific during the prep days about how the Bloater would bubble, melt, and burn as Tommy torches him with the flamethrower. Important Looking Pirates took on the “Burning Bloater” sequence, led by VFX Supervisor Philip Engstrom. They began with extensive R&D to ensure the Bloater’s skin would start to bubble and burn. ILP took the final Bloater asset from Weta FX and had to resculpt and texture the asset for the Bloater’s final burn state. Craig felt it was important for the Bloater to appear maimed at the end. The layers of FX were so complex that the R&D continued almost to the end of the delivery schedule. Fiona Campbell Westgate // This season the Bloater had to be bigger, more intimidating. The CG Asset was recreated to withstand the scrutiny of close ups and in daylight. Both Craig Mazin and Neil Druckmann worked closely with us during the process of the build. We referenced the game and applied elements of that version with ours. You’ll notice that his head is in the shape of crown, this is to convey he’s a powerful force.  During the Burning Bloater sequence in Episode 2, we brainstormed with Philip Engström, ILP VFX Supervisor, on how this creature would react to the flamethrower and how it would affect the ground as it burns. When the Bloater finally falls to the ground and dies, the extraordinary detail of the embers burning, fluid draining and melting the surrounding snow really sells that the CG creature was in the terrain.  Given the Bloater’s imposing size, how did you approach its integration into scenes with the actors? What techniques did you use to create such a realistic and menacing appearance? Fiona Campbell Westgate // For the Bloater, a stunt performer wearing a motion capture suit was filmed on set. This provided interaction with the actors and the environment. VFX enhanced the intensity of his movements, incorporating simulations to the CG Bloater’s skin and muscles that would reflect the weight and force as this terrifying creature moves.  Seattle in The Last of Us is a completely devastated city. Can you talk about how you recreated this destruction? What were the most difficult visual aspects to realize for this post-apocalyptic city? Fiona Campbell Westgate // We were meticulous in blending the CG destruction with the practical environment. The flora’s ability to overtake the environment had to be believable, and we adhered to the principle of form follows function. Due to the vastness of the CG devastation it was crucial to avoid repetitive effects. Consequently, our vendors were tasked with creating bespoke designs that evoked a sense of awe and beauty. Was Seattle’s architecture a key element in how you designed the visual effects? How did you adapt the city’s real-life urban landscape to meet the needs of the story while maintaining a coherent aesthetic? Alex Wang // It’s always important to Craig and Neil that we remain true to the cities our characters are in. DNEG was one of our primary vendors for Boston in Season 1, so it was natural for them to return for Season 2, this time focusing on Seattle. DNEG’s VFX Supervisor, Stephen James, who played a crucial role in developing the visual language of Boston for Season 1, also returns for this season. Stephen and Melaina Maceled a team to Seattle to shoot plates and perform lidar scans of parts of the city. We identified the buildings unique to Seattle that would have existed in 2003, so we ensured these buildings were always included in our establishing shots. Overgrowth and destruction have significantly influenced the environments in The Last of Us. The environment functions almost as a character in both Season 1 and Season 2. In the last season, the building destruction in Boston was primarily caused by military bombings. During this season, destruction mainly arises from dilapidation. Living in the Pacific Northwest, I understand how damp it can get for most of the year. I imagined that, over 20 years, the integrity of the buildings would be compromised by natural forces. This abundant moisture creates an exceptionally lush and vibrant landscape for much of the year. Therefore, when designing Seattle, we ensured that the destruction and overgrowth appeared intentional and aesthetically distinct from those of Boston. Fiona Campbell Westgate // Led by Stephen James, DNEG VFX Supervisor, and Melaina Mace, DNEG DFX Supervisor, the team captured photography, drone footage and the Clear Angle team captured LiDAR data over a three-day period in Seattle. It was crucial to include recognizable Seattle landmarks that would resonate with people familiar with the game.  The devastated city almost becomes a character in itself this season. What aspects of the visual effects did you have to enhance to increase the immersion of the viewer into this hostile and deteriorated environment? Fiona Campbell Westgate // It is indeed a character. Craig wanted it to be deteriorated but to have moments where it’s also beautiful in its devastation. For instance, in the Music Store in Episode 4 where Ellie is playing guitar for Dina, the deteriorated interior provides a beautiful backdrop to this intimate moment. The Set Decorating team dressed a specific section of the set, while VFX extended the destruction and overgrowth to encompass the entire environment, immersing the viewer in strange yet familiar surroundings. Photograph by Liane Hentscher/HBO The sequence where Ellie navigates a boat through a violent storm is stunning. What were the key challenges in creating this scene, especially with water simulation and the storm’s effects? Alex Wang // In the concluding episode of Season 2, Ellie is deep in Seattle, searching for Abby. The episode draws us closer to the Aquarium, where this area of Seattle is heavily flooded. Naturally, this brings challenges with CG water. In the scene where Ellie encounters Isaac and the W.L.F soldiers by the dock, we had a complex shoot involving multiple locations, including a water tank and a boat gimbal. There were also several full CG shots. For Isaac’s riverine boat, which was in a stormy ocean, I felt it was essential that the boat and the actors were given the appropriate motion. Weta FX assisted with tech-vis for all the boat gimbal work. We began with different ocean wave sizes caused by the storm, and once the filmmakers selected one, the boat’s motion in the tech-vis fed the special FX gimbal. When Ellie gets into the Jon boat, I didn’t want it on the same gimbal because I felt it would be too mechanical. Ellie’s weight needed to affect the boat as she got in, and that wouldn’t have happened with a mechanical gimbal. So, we opted to have her boat in a water tank for this scene. Special FX had wave makers that provided the boat with the appropriate movement. Instead of guessing what the ocean sim for the riverine boat should be, the tech- vis data enabled DNEG to get a head start on the water simulations in post-production. Craig wanted this sequence to appear convincingly dark, much like it looks out on the ocean at night. This allowed us to create dramatic visuals, using lightning strikes at moments to reveal depth. Were there any memorable moments or scenes from the series that you found particularly rewarding or challenging to work on from a visual effects standpoint? Alex Wang // The Last of Us tells the story of our characters’ journey. If you look at how season 2 begins in Jackson, it differs significantly from how we conclude the season in Seattle. We seldom return to the exact location in each episode, meaning every episode presents a unique challenge. The scope of work this season has been incredibly rewarding. We burned a Bloater, and we also introduced spores this season! Photograph by Liane Hentscher/HBO Looking back on the project, what aspects of the visual effects are you most proud of? Alex Wang // The Jackson Battle was incredibly complex, involving a grueling and lengthy shoot in quite challenging conditions, along with over 600 VFX shots in episode 2. It was truly inspiring to witness the determination of every department and vendor to give their all and create something remarkable. Fiona Campbell Westgate // I am immensely proud of the exceptional work accomplished by all of our vendors. During the VFX reviews, I found myself clapping with delight when the final shots were displayed; it was exciting to see remarkable results of the artists’ efforts come to light.  How long have you worked on this show? Alex Wang // I’ve been on this season for nearly two years. Fiona Campbell Westgate // A little over one year; I joined the show in April 2024. What’s the VFX shots count? Alex Wang // We had just over 2,500 shots this Season. Fiona Campbell Westgate // In Season 2, there were a total of 2656 visual effects shots. What is your next project? Fiona Campbell Westgate // Stay tuned… A big thanks for your time. WANT TO KNOW MORE?Blackbird: Dedicated page about The Last of Us – Season 2 website.DNEG: Dedicated page about The Last of Us – Season 2 on DNEG website.Important Looking Pirates: Dedicated page about The Last of Us – Season 2 website.RISE: Dedicated page about The Last of Us – Season 2 website.Weta FX: Dedicated page about The Last of Us – Season 2 website. © Vincent Frei – The Art of VFX – 2025 #last #season #alex #wang #production

By JENNIFER CHAMPAGNE House of the Dragon expands its dragon-filled world in its second season, offering more large-scale battles and heightened aerial warfare.The 2025 Emmy race for outstanding visual effects is shaping up to be one of the most competitive in years with major genre heavyweights breaking new ground on what’s possible on television. As prestige fantasy and sci-fi continue to dominate, the battle for the category will likely come down to sheer scale, technical innovation and how seamlessly effects are integrated into storytelling. Returning titans like House of the Dragon and The Lord of the Rings: The Rings of Power have proven their ability to deliver breathtaking visuals. At the same time, Dune: Prophecy enters the conversation as a visually stunning newcomer. The Boys remains the category’s wildcard, bringing its own brand of hyper-realistic, shock-value effects to the race. With its subtle yet immersive world-building, The Penguin stands apart from the spectacle-driven contenders, using “invisible” VFX to transform Gotham into a post-flooded, decaying metropolis. Each series offers a distinct approach to digital effects, making for an intriguing showdown between blockbuster-scale world-building and more nuanced, atmospheric craftsmanship. Sharing the arena with marquee pacesetters HBO’s The Last of Us, Disney+’s Andor and Netflix’s Squid Game, these series lead the charge in ensuring that the 2025 Emmy race isn’t just about visual spectacle; it’s about which shows will set the next benchmark for visual effects on television. The following insights and highlights from VFX supervisors of likely Emmy contenders illustrate why their award-worthy shows have caught the attention of TV watchers and VFX Emmy voters. The Penguin, with its subtle yet immersive world-building, stands apart from the spectacle-driven contenders, using “invisible” VFX to transform Gotham into a post-flooded, decaying metropolis. For The Lord of the Rings: The Rings of Power VFX Supervisor Jason Smith, the second season presented some of the Amazon series’ most ambitious visual effects challenges. From the epic Battle of Eregion to the painstaking design of the Entwives, Smith and his team at Wētā FX sought to advance digital world-building while staying true to J.R.R. Tolkien’s vision. “The Battle of Eregion was amazing to work on – and challenging too, because it’s a pivotal moment in Tolkien’s story,” Smith states. Unlike typical large-scale clashes, this battle begins as a siege culminating in an explosive cavalry charge. “We looked for every way we could to heighten the action during the siege by keeping the armies interacting, even at a distance,” Smith explains. His team introduced projectiles and siege weaponry to create dynamic action, ensuring the prolonged standoff felt kinetic. The environment work for Eregion posed another challenge. The city was initially constructed as a massive digital asset in Season 1, showcasing the collaborative brilliance of the Elves and Dwarves. In Season 2, that grandeur had to be systematically razed to the ground. “The progression of destruction had to be planned extremely carefully,” Smith notes. His team devised seven distinct levels of damage, mapping out in granular detail which areas would be smoldering, reduced to rubble or utterly consumed by fire. “Our goal was to have the audience feel the loss that the Elves feel as this beautiful symbol of the height of Elvendom is utterly razed.” The SSVFX team helped shape a world for Lady in the Lake that felt rich, lived-in and historically precise.One of most ambitious effects for Season 4 of The Boys was Splinter, who has the ability to duplicate himself. The sequence required eight hours of rehearsal, six hours of filming, for one shot. The final effect was a mix of prosthetic cover-up pieces and VFX face replacement.The Penguin, HBO Max’s spinoff series of The Batman, centers on Oswald ‘Oz’ Cobb’s ruthless rise to power, and relies on meticulous environmental effects, smoothly integrating CG elements to enhance Gotham’s noir aesthetic without ever calling attention to the work itself. “The most rewarding part of our work was crafting VFX that don’t feel like VFX,” says VFX Supervisor Johnny Han. Across the series’ 3,100 VFX shots, every collapsing freeway, skyline extension and flicker of light from a muzzle flash had to feel utterly real – woven so naturally into the world of Gotham that viewers never stopped to question its authenticity. Zimia spaceport, an enormous hub of interstellar commerce in Dune: Prophecy. The production team built a vast practical set to provide a strong scale foundation, but its full grandeur came to life in post by extending this environment with CG.The second season of The Lord of the Rings: The Rings of Power refined its environments, which elevate Middle-earth’s realism.Some of the series’ most striking visual moments were also its most understated. The shift of Gotham’s seasons – transforming sunlit summer shoots into autumn’s muted chill – helped shape the show’s somber tone, reinforcing the bleak, crime-ridden undercurrent. The city’s bridges and skyscrapers were meticulously augmented, stretching Gotham beyond the limits of practical sets while preserving its grounded, brutalist aesthetic. Even the scars and wounds on Sofia Falcone were enhanced through digital artistry, ensuring that her past traumas remained ever-present, etched into her skin. The series wasn’t without its large-scale effects – far from it. Han and his team orchestrated massive sequences of urban devastation. “The floodwaters were one of our biggest challenges,” Han notes, referring to the ongoing impact of the catastrophic deluge that left Gotham in ruins. One particularly harrowing sequence required simulating a tsunami tearing through the streets – not as an action set piece, but as a deeply personal moment of loss. “Telling Victor’s story of how he lost his entire family in the bombing and floods of Gotham was heartbreaking,” Han says. “Normally, you create an event like that for excitement, for tension. But for us, it was about capturing emotional devastation.” Perhaps the most technically intricate sequences were the shootouts, hallmarks of Gotham’s criminal underbelly. “We programmed millisecond-accurate synced flash guns to mimic dramatic gunfire light,” Han explains, ensuring that the interplay of practical and digital elements remained imperceptible. Every muzzle flash, every ricochet was meticulously planned and rendered. The ultimate achievement for Han and his team wasn’t crafting the biggest explosion or the most elaborate digital sequence – it was making Gotham itself feel inescapably real. He says, “Nothing was more important to us than for you to forget that there are 3,100 VFX shots in this series.” The challenge for The Residence was making one of the most recognizable buildings in the world feel both immersive and narratively engaging.Bringing the universe of Dune to life on TV for HBO’s Dune: Prophecy requires a delicate balance of realism and imagination, grounded in natural physics, yet awe-inspiring in scale. Dune: Prophecy looks to challenge traditional fantasy dominance with its stunning, desert-bound landscapes and intricate space-faring visuals, uniting the grandeur of Denis Villeneuve’s films with the demands of episodic storytelling. Set thousands of years before the events of the films, the series explores the early days of the Bene Gesserit, a secretive order wielding extraordinary abilities. Translating that power into a visual language required technical innovation. “Kudos to Important Looking Pirates for the space folding andAgony work,” says VFX Supervisor Mike Enriquez. No Dune project would be complete without its most iconic inhabitant, the sandworm. VFX Producer Terron Pratt says. “We’re incredibly proud of what the team at Image Engine created. Precise animation conveyed this creature’s weight and massive scale, while incredibly detailed sand simulations integrated it into the environment.” Every grain of sand had to move believably in response to the worm’s colossal presence to ensure the physics of Arrakis remained authentic. Floodwaters play a significant part in the destruction of Gotham in The Penguin. One particularly harrowing sequence required simulating a tsunami tearing through the streets.American Primeval integrated visual effects with practical techniques in creative, unconventional ways. The massacre sequence showcases technical mastery and pulls the audience into the brutal reality of the American frontier.For the Zimia spaceport, an enormous hub of interstellar commerce, the Dune: Prophecy production team built a vast practical set to provide a strong scale foundation. However, its full grandeur came to life in post. “By extending this environment with CG, we amplified the scope of our world, making it feel expansive and deeply impactful,” Pratt explains. The result was a sprawling, futuristic cityscape that retained a tangible weight with impeccably amalgamated practical and digital elements. Wētā FX sought to advance digital world-building for Season 2 of The Lord of the Rings: The Rings of Power while staying true to J.R.R. Tolkien’s vision.Visual effects extended beyond character work for Lady in the Lake, playing a key role in the show’s immersive world-building.For House of the Dragon VFX Supervisor Daði Einarsson, Season 2 presented some of the HBO show’s most complex and ambitious visual effects work. The Battle at Rook’s Rest in Episode 4 was a milestone for the series, marking the first full-scale dragon-on-dragon aerial battle. “We were tasked with pitting three dragons against each other in an all-out aerial war above a castle siege,” Einarsson says. Capturing the actors’ performances mid-flight required a combination of motion-controlled cameras, preprogrammed motion bases with saddles and LED volume lighting – all mapped directly from fully animated previsualized sequences approved by director Alan Taylor and Showrunner Ryan J. Condal. On the ground, the battlefield required digital crowd replication, extensive environment extensions, and pyrotechnic enhancements to create a war zone that felt both vast and intimately chaotic. “In the air, we created a fully CG version of the environment to have full control over the camera work,” Einarsson explains. Under the supervision of Sven Martin, the Pixomondo team stitched together breathtaking aerial combat, ensuring the dragons moved with the weight and raw power befitting their legendary status. Blood, weapon effects and period-accurate muzzle flashes heightened the intensity of the brutal fight sequences in American Primeval. The natural elements and violence reflected the harsh realities of the American west in 1857.The Residence brings a refined, detailed approach to environmental augmentation, using visual effects to take the audience on a journey through the White House in this political murder mystery.Episode 7 introduced Hugh Hammer’s claim of Vermithor, Westeros’ second-largest dragon. Rather than breaking the sequence into multiple shots, Einarsson and director Loni Peristere saw an opportunity to craft something exceptional: a single, uninterrupted long take reminiscent of Children of Men and Gravity. “It took a lot of planning to design a series of beats that cohesively flowed from one into the next, with Hugh leading the camera by action and reaction,” Einarsson says. The sequence, which involved Hugh dodging Vermithor’s flames and ultimately claiming the beast through sheer bravery, was technically demanding. To achieve this, the team stitched together five separate takes of Hugh’s performance, shot over two separate days weeks apart, due to the set needing to be struck and rebuilt in different configurations. VFX Supervisor Wayne Stables and the team at Wētā ensured the transitions were imperceptible, uniting practical and digital elements into a continuous, immersive moment. “The Dragonmont Cavern environment was a beautiful, raised gantry and cave designed byJim Clay and expanded by Wētā,” Einarsson says. Then Rowley Imran’s stunt team and Mike Dawson’s SFX team engulfed the set in practical flames so every element, from fire to dust to movement, contributed to the illusion of real-time danger. For Einarsson, the most significant challenge wasn’t just in making these sequences visually spectacular – it was ensuring they belonged within the same world as the quiet, dialogue-driven moments in King’s Landing. “The aim is for incredibly complex and spectacular visual effects scenes to feel like they belong in the same world as two people talking in a council chamber,” he states. Every dragon, flame and gust of wind had to feel as lived-in as the politics playing out beneath them. Season 4 of The Boys delivered the fully CG octopus character, Ambrosius. A challenge was crafting a believable yet expressive sea creature and keeping it grounded while still embracing the show’s signature absurdity.In The Penguin, Gotham isn’t just a city; it’s a living, breathing entity shaped by destruction, decay and the quiet menace lurking beneath its streets.The Boys continues to defy genre norms, delivering audacious, technically complex effects that lean into its hyperviolent, satirical take on superheroes. For The Boys VFX Supervisor Stephan Fleet, Season 4 delivered some of the Amazon Prime show’s most dramatic effects yet, from the self-replicating Splinter to the fully CG octopus character, Ambrosius. Splinter, who has the ability to duplicate himself, presented a unique challenge. Fleet says, “His introduction on the podium was a complex motion control sequence. Eight hours of rehearsal, six hours of filming – for one shot.” Splinter’s design came with an added layer of difficulty. “We had to figure out how to make a nude male clone,” Fleet says. “Normally, you can hide doubles’ bodies in clothes – not this time!” The final effect required a mix of prosthetic cover-up pieces and VFX face replacement, requiring multiple iterations to make it work. Ambrosius became one of The Boys’ most unexpected breakout characters. “It’s fun making a full-on character in the show that’s an octopus,” Fleet reveals in a nod to the show’s absurd side. “As much as possible, we aim for a grounded approach and try to attain a level of thought and detail you don’t often find on TV.” While the battle for outstanding visual effects will likely be dominated by large-scale fantasy and sci-fi productions, several standout series are also making waves with their innovative and immersive visual storytelling. Netflix’s The Residence, led by VFX Supervisor Seth Hill, brings a refined, detailed approach to environmental augmentation, enhancing the grandeur of the White House setting in this political murder mystery. “Using visual effects to take the audience on a journey through an iconic location like the White House was really fun,” Hill says. “It’s a cool and unique use of visual effects.” One of the most ambitious sequences involved what the team called the Doll House, a digital rendering of the White House with its south façade removed, exposing the interior like a cross-section of a dollhouse. Hill explains. “Going back and forth from filmed footage to full CGI – that jump from grounded realism to abstract yet still real – was quite tricky,” he says, adding, “VFX is best when it is in service of the storytelling, and The Residence presented a unique opportunity to do just that. It was a big challenge and a tough nut to crack, but those creative and technical hurdles are a good part of what makes it so rewarding.” “We were tasked with pitting three dragons against each other in an all-out aerial war above a castle siege. In the air, we created a fully CG version of the environment to have full control over the camera work.”—Daði Einarsson, VFX Supervisor, House of the Dragon The Battle at Rook’s Rest in Episode 4 of House of the Dragon Season 2 was a major milestone for the series, marking the first full-scale dragon-on-dragon aerial battle.Season 2 of House of the Dragon presented some of the most complex and ambitious visual effects work for the show to date.For Jay Worth, VFX Supervisor on Apple TV+’s Lady in the Lake, the challenge was two-fold: create seamless effects and preserve the raw emotional truth of a performance. One of the most significant technical achievements was de-aging Natalie Portman. “It seems so easy on paper, but the reality was far more challenging,” Worth admits. Worth had tackled de-aging before, but never with the same level of success. “For me, it is simply because of her performance.” Portman delivered a nuanced, youthful portrayal that felt entirely authentic to the time period. “It made our job both so much easier and set the bar so high for us. Sometimes, you can hide in a scene like this – you pull the camera back, cut away before the most expressive parts of the dialogue, or the illusion breaks,” Worth explains. In Lady in the Lake, there was nowhere to hide. “I think that is what I am most proud of with these shots. It felt like the longer you stayed on them, the more you believed them. That is a real feat with this sort of work.” Skully VFX handled the de-aging. “They nailed the look early on and delivered throughout the project on this difficult task.” Working alongside Production Designer Jc Molina, the VFX team helped shape a world that felt rich, lived-in and historically precise. “We were entrusted with the most important part of this show – do we believe this performance from this character in this part of her journey? – and we feel like we were able to deliver on this challenge.” On the other end of the spectrum, Netflix’s American Primeval, under the guidance of VFX Supervisor Andrew Ceperley, delivers rugged, visceral realism in its portrayal of the untamed American frontier. With brutal battle sequences, sprawling landscapes and historical re-creations that interweave practical and digital effects, the series stands as a testament to how VFX can enhance grounded, historical storytelling. Ceperley says, “The standout is definitely the nearly three-minute single-shot massacre sequence in the forest episode.” Designed to immerse the audience in the raw, chaotic violence of the frontier, the scene captures every brutal detail with unrelenting intensity. The challenge was crafting invisible visual effects, enhancing practical stunts and destruction without breaking the immersive, handheld camera style. “The sequence was designed to be one shot made up of 10 individual takes, shot over seven days, seamlessly stitched together, all while using a handheld camera on an extremely wide-angle lens.” One of the most complex moments involved a bull smashing through a wagon while the characters hid underneath. Rather than relying on CGI, the team took a practical approach, placing a 360-degree camera under the wagon while the special effects team rigged it to explode in a way that simulated an impact. “A real bull was then guided to run toward the 360 camera and leap over it,” Ceperley says. The footage was blended with live-action shots of the actors with minimal CGI enhancements – just dust and debris – to complete the effect. Adding to the difficulty, the scene was set at sunset, giving the team an extremely limited window to capture each day’s footage. The massacre sequence was a prime example of integrating visual effects with practical techniques in creative, unconventional ways, blending old-school in-camera effects with modern stitching techniques to create a visceral cinematic moment that stayed true to the show’s raw, historical aesthetic. “Using old techniques in new, even strange ways and seeing it pay off and deliver on the original vision was the most rewarding part.” #vfx #emmy #contenders #setting #benchmark

As if early June wasn't already going to be a wild enough time in the gaming world with the arrival of the Nintendo Switch 2, that's also when a whole host of showcases takes place as part of Summer Game Fest. Along with the two blockbuster events — Summer Game Fest Live and the Xbox Games Showcase — there are a bunch of other ones in store, including the always-delightful Day of the Devs. There could be even more on the docket. There's always a chance that Nintendo and Sony will run a Direct or State of Play, respectively, over the next few weeks. Ubisoft hasn't yet announced a Forward event for this year — perhaps because it has delayed a bunch of big games and isn't ready to talk about them.  As things stand, SGF is slated to run from June 6 until June 8. With E3 officially dead, SGF is now the de facto replacement and the biggest event for announcements and updates this side of Gamescom in August. We'll update this preview as more details about the showcases emerge, including additional events in the SGF nebula. We'll embed videos for each stream as they become available as well. Engadget will be on the ground in Los Angeles for the in-person side of SGF, which is for media and creators. We'll be bringing you hands-on impressions of many of the games that are featured during SGF Live. Most folks will be keeping up with everything from home, though. To that end, here's a breakdown of how to watch Summer Game Fest 2025 and what to expect from the extravaganza. Summer Game Fest 2024 schedule Summer Game Fest Live — June 6, 5PM ET Day of the Devs — June 6, 7PM ET Devolver Direct — June 6, 8PM ET Wholesome Direct — June 7, 12PM ET Women-led Games Showcase — June 7, 1PM ET Latin American Games Showcase — June 7, 2PM ET Green Games Showcase — June 7, 4PM ET Xbox Games Showcase — June 8, 1PM ET Death Stranding 2: On The Beach Live Game Premiere — June 8, 10PM ET How to watch Summer Game Fest Live — June 6, 5PM ET Watch on YouTube or Twitch Putting aside our annoyance at the timing of this showcase — late on a Friday evening in the UK and right when many folks on the East Coast are clocking out for the weekend — Summer Game Fest Live is one of the bigger events in early June. It starts at 5PM ET and will run for two hours. Organizers are promising "spectacular new video game announcements, surprises and reveals." That's pretty compelling, especially since host Geoff Keighleydownplayed expectations ahead of last year's show.  We do know about a few games that will appear. SGF Live will include a fresh look at Wuchang: Fallen Feathers, a Soulslike action RPG from Leenzee, a studio based in China. That game will arrive in July. Open-world MMORPG Chrono Odyssey will make an appearance as well. Oh, and Hideo Kojima will be there, of course. SGF Live takes place just a couple of weeks before Kojima's Death Stranding 2: On the Beach arrives, so we'll likely get another peek at that game before a more in-depth event on June 8. Perhaps some of the other projects Kojima's working on will get some time in the limelight too. We’re proud to welcome a record-setting 60+ partners for #SummerGameFest 2025, a global celebration of video games in Los Angeles this June. pic.twitter.com/1TZkEbKlHt— Geoff KeighleyMay 28, 2025 Keighley has also released an initial list of partners for SGF. It includes big names such as PlayStation, Nintendo Switch 2, Xbox, Steam, 2K, Epic Games and Square Enix. On the list is IO Interactive, so perhaps we'll get more information about the James Bond game that the Hitman studio has been working on for several years.  Embark Studios is there as well, and given that there's a lot of hype around its upcoming extraction shooter, Arc Raiders, there'll be high hopes for a release date for that one. On top of that, CD Projekt Red will be at SGF, but it's more likely to be promoting Cyberpunk 2077's arrival on the Nintendo Switch 2 than shining a spotlight on The Witcher 4 . You can watch SGF Live on more than 20 platforms, including YouTube, Twitch, X, TikTok, Steam and international services. The event will stream live from the YouTube Theater, and you can attend in person, if you like. In any case, we'll be bringing you all the major news from Summer Game Fest Live. We just can't promise we won't have an adult beverage with an umbrella next to us while we're covering the event. How to watch Day of the Devs — June 6, 7PM ET Watch on YouTubeor Twitch  Immediately after SGF Live ends, the YouTube and Twitch streams will segue into the summer 2025 edition of Day of the Devs. This indie-focused showcase invariably has a fantastic lineup of games worth keeping an eye on. Among the games making appearances are Possessorfrom Heart Machine and "nightmarish RPG" Neverway from Coldblood and co-publisher Outersloth. We'll also see something from House House— presumably the co-op "walker-talker" Big Walk that was revealed in 2023. In all, Day of the Devs will feature 20 games.  Last year's show included 2024 gameof the year contender UFO 50, the very intriguing platformer Screenbound, survival climbing game Cairn, the delightfully kooky-looking Building Relationships and sci-fi mystery Phoenix Springs. My Steam wishlist somehow expands quite significantly after each Day of the Devs showcase. Weird how that always happens. How to watch Devolver Direct — June 6, 8PM ET Watch on YouTubeor Twitch  Sorry to everyone who was hoping for Baby Steps and Skate Story release dates from the SGF edition of Devolver Direct. This installment will be entirely focused on one game, and it's neither of those. Devolver Digital will be showing off a previously unannounced title called Ball x Pit: The Kenny Sun Story. The publisher hasn't revealed any more details about this game yet, but apparently it's one that the Devolver "team themselves can't even put down — hundreds of hours later." Devolver's got a strong track record, so this will probably be worth your attention. How to watch Wholesome Direct — June 7, 12PM ET Watch on YouTube or Twitch Definitely don't overlook the smaller events that take place during SGF, as you can always find plenty of treats among them. One such event is the Wholesome Direct, which will feature around 60 cozy games. It will include world premieres, demo announcements and updates from publishers and developers including Playstack, btf Games, ustwo games and Wētā Workshop. How to watch Women-led Games Showcase — June 7, 1PM ET Watch on YouTube This one does what it says on the tin. It's a showcase featuring games from women-led and majority-women studios. Women-led Games will feature 39 titles, including world premieres and release dates. How to watch Latin American Games Showcase — June 7, 2PM ET Watch on YouTube The Latin American Games Showcase will feature more than 50 games, all of which are from Latin American developers, oddly enough. Expect world premieres, game update news and more from this one. How to watch Green Games Showcase — June 7, 4PM ET Watch on YouTube The Green Games Showcase is a new addition to the lineup for 2025. This will focus on the game's industry's "growing commitment to the environment." It will feature games that make direct contributions to green initiatives. Other titles in the showcase center around sustainability, and some are designed to raise awareness or drive action regarding environmental causes. Amazon Games, Skybound Games and Team17 are among those taking part. The stream will include a Q&A about how games can inspire meaningful action on climate change. There will also be a fundraising drive to help plant 50,000 trees. How to watch Xbox Games Showcase — June 8, 1PM ET Watch on YouTube or TwitchWhat's the over/under on the number of times the phrase "day one with Game Pass" will appear on this stream? That's one phrase you can definitely expect to hear, but Microsoft will have plenty to share here. It's the biggest Xbox showcase of the year. There will be reveals and updates from across Xbox Game Studios, Bethesda and Activision Blizzard. Games that the company has in the pipeline include Fable, Perfect Dark, Gears of War: E-Day, Everwild, State of Decay 3, Clockwork Revolution, Hideo Kojima's OD and Contraband. It feels a little early for an update on The Elder Scrolls 6 since that game is still years away. But we may find out more about those other games and some we don't yet know about, such as whatever Double Fine and Toys for Bob are working on.  I have my fingers crossed for more info on the Blade game that Arkane Studios is working on. It's a reasonably safe bet that we'll see something about the next Call of Duty here as well. There's always going to be space for offerings from Microsoft's partner studios and publishers too. Plus, you never know, we might get a peek at what Halo Studios has been cooking up. One game we'll definitely hear more about on June 8 is The Outer Worlds 2. That's getting its own time in the spotlight, with a dedicated event that will start as soon as the main Xbox Games Showcase ends. How to watch Death Stranding 2 Live Game Premiere — June 8, 10PM ET Watch on YouTube Kojima will join Keighley at the Orpheum Theatre in LA to kick off a world tour of events to celebrate the arrival of Death Stranding 2: On The Beach. There will be a panel discussion with some special guests, as well as a live demo of the highly anticipated game. In case you can't make it in person, you can watch the hour-long event live at home.  Meanwhile, several publishers and other organizations are hosting their own shows around SGF. Here's when those will take place:  Access-Ability Summer Showcase — June 6, 11AM ET, on YouTube, YouTube with British Sign Language and TwitchIGN Live — throughout June 7 and 8, on YouTube and Twitch Southeast Asian Games Showcase — June 7, 3PM ET, on YouTube Future Games Show — June 7, 4PM ET, on YouTube  Frosty Games Fest — June 7, 7PM ET, on YouTubePC Gamer's PC Gaming Show — June 8, 3PM ET, on YouTubePhew. Get ready, gamers. Details on many, many new games are coming your way very soon.This article originally appeared on Engadget at #summer #game #fest #what #new

Adapting the iconic, block-based design aesthetic of Mojang’s beloved Minecraft videogame into the hit feature film comedy adventure, The Minecraft Movie, posed an enormous number of hurdles for director Jared Hess and Oscar-winning Production VFX Supervisor Dan Lemmon. Tasked with helping translate the iconic pixelated world into something cinematically engaging, while remaining true to its visual DNA, was Wētā FX, who delivered 450 VFX shots on the film. And two of their key leads on the film were VFX Supervisor Sheldon Stopsack and Animation Supervisor Kevin Estey.  But the shot count merely scratches the surface of the extensive work the studio performed. Wētā led the design and creation of The Overworld, 64 unique terrains spanning deserts, lush forests, oceans, and mountain ranges, all combined into one continuous environment, assets that were also shared with Digital Domain for their work on the 3rd act battle. Wētā also handled extensive work on the lava-filled hellscape of The Nether that involved Unreal Engine for early representations used in previs, scene scouting, and onset during principal photography, before refining the environment during post-production. They also dressed The Nether with lava, fire, and torches, along with atmospherics and particulate like smoke, ash, and embers. But wait… there’s more! The studio’s Art Department, working closely with Hess, co-created the look and feel of all digital characters in the film. For Malgosha’s henchmen, the Piglins, Wētā designed and created 12 different variants, all with individual characteristics and personalities. They also designed sheep, bees, pandas, zombies, skeletons, and lovable wolf Dennis. Many of these characters were provided to other vendors for their work on the film. Needless to say, the studio truly became a “Master Builder” on the show. The film is based on the hugely popular game Minecraft, first released by Sweden’s Mojang Studios in 2011 and purchased by Microsoft for billion in 2014, which immerses players in a low-res, pixelated “sandbox” simulation where they can use blocks to build entire worlds.  Here's the final trailer: In a far-ranging interview, Stopsack and Estey shared with AWN a peek into their creative process, from early design exploration to creation of an intricate practical cloak for Malgosha and the use of Unreal Engine for previs, postvis, and real-time onset visualization. Dan Sarto: The film is filled with distinct settings and characters sporting various “block” styled features. Can you share some of the work you did on the environments, character design, and character animation? Sheldon Stopsack: There's, there's so much to talk about and truth to be told, if you were to touch on everything, we would probably need to spend the whole day together.  Kevin Estey: Sheldon and I realized that when we talk about the film, either amongst ourselves or with someone else, we could just keep going, there are so many stories to tell. DS: Well, start with The Overworld and The Nether. How did the design process begin? What did you have to work with? SS: Visual effects is a tricky business, you know. It's always difficult. Always challenging. However, Minecraft stood out to us as not your usual quote unquote standard visual effects project, even though as you know, there is no standard visual effects project because they're all somehow different. They all come with their own creative ideas, inspirations, and challenges. But Minecraft, right from the get-go, was different, simply by the fact that when you first consider the idea of making such a live-action movie, you instantly ask yourself, “How do we make this work? How do we combine these two inherently very, very different but unique worlds?” That was everyone’s number one question. How do we land this? Where do we land this? And I don't think that any of us really had an answer, including our clients, Dan Lemmonand Jared Hess. Everyone was really open for this journey. That's compelling for us, to get out of our comfort zone. It makes you nervous because there are no real obvious answers. KE: Early on, we seemed to thrive off these kinds of scary creative challenges. There were lots of question marks. We had many moments when we were trying to figure out character designs. We had a template from the game, but it was an incredibly vague, low-resolution template. And there were so many ways that we could go. But that design discovery throughout the project was really satisfying.  DS: Game adaptations are never simple. There usually isn’t much in the way of story. But with Minecraft, from a visual standpoint, how did you translate low res, block-styled characters into something entertaining that could sustain a 100-minute feature film? SS: Everything was a question mark. Using the lava that you see in The Nether as one example, we had beautiful concept art for all our environments, The Overworld and The Nether, but those concepts only really took you this far. They didn’t represent the block shapes or give you a clear answer of like how realistic some of those materials, shapes and structures would be. How organic would we go? All of this needed to be explored. For the lava, we had stylized concept pieces, with block shaped viscosity as it flowed down. But we spent months with our effects team, and Dan and Jared, just riffing on ideas. We came full circle, with the lava ending up being more realistic, a naturally viscous liquid based on real physics. And the same goes with the waterfall that you see in the Overworld.  The question is, how far do we take things into the true Minecraft representation of things? How much do we scale back a little bit and ground ourselves in reality, with effects we’re quite comfortable producing as a company? There's always a tradeoff to find that balance of how best to combine what’s been filmed, the practical sets and live-action performances, with effects. Where’s the sweet spot? What's the level of abstraction? What's honest to the game? As much as some call Minecraft a simple game, it isn't simple, right? It's incredibly complex. It's got a set of rules and logic to the world building process within the game that we had to learn, adapt, and honor in many ways. When our misfits first arrive and we have these big vistas and establishing shots, when you really look at it, you, you recognize a lot of the things that we tried to adapt from the game. There are different biomes, like the Badlands, which is very sand stoney; there's the Woodlands, which is a lush environment with cherry blossom trees; you’ve got the snow biome with big mountains in the background. Our intent was to honor the game. KE: I took a big cue from a lot of the early designs, and particularly the approach that Jared liked for the characters and to the design in general, which was maintaining the stylized, blocky aesthetic, but covering them in realistic flesh, fur, things that were going to make them appear as real as possible despite the absolutely unreal designs of their bodies. And so essentially, it was squared skeleton… squarish bones with flesh and realistic fur laid over top. We tried various things, all extremely stylized. The Creepers are a good example. We tried all kinds of ways for them to explode. Sheldon found a great reference for a cat coughing up a hairball. He was nice to censor the worst part of it, but those undulations in the chest and ribcage… Jared spoke of the Creepers being basically tragic characters that only wanted to be loved, to just be close to you. But sadly, whenever they did, they’d explode. So, we experimented with a lot of different motions of how they’d explode. DS: Talk about the process of determining how these characters would move. None seem to have remotely realistic proportions in their limbs, bodies, or head size. KE: There were a couple things that Jared always seemed to be chasing. One was just something that would make him laugh. Of course, it had to sit within the bounds of how a zombie might move, or a skeleton might move, as we were interpreting the game. But the main thing was just, was it fun and funny? I still remember one of the earliest gags they came up with in mocap sessions, even before I even joined the show, was how the zombies get up after they fall over. It was sort of like a tripod, where its face and feet were planted and its butt shoots up in the air. After a lot of experimentation, we came up with basic personality types for each character. There were 12 different types of Piglins. The zombies were essentially like you're coming home from the pub after a few too many pints and you're just trying to get in the door, but you can't find your keys. Loose, slightly inebriated movement. The best movement we found for the skeletons was essentially like an old man with rigid limbs and lack of ligaments that was chasing kids off his lawn. And so, we created this kind of bible of performance types that really helped guide performers on the mocap stage and animators later on. SS: A lot of our exploration didn’t stick. But Jared was the expert in all of this. He always came up with some quirky last-minute idea.  KE: My favorite from Jared came in the middle of one mocap shoot. He walked up to me and said he had this stupid idea. I said OK, go on. He said, what if Malgosha had these two little pigs next to her, like Catholic alter boys, swinging incense. Can we do that? I talked to our stage manager, and we quickly put together a temporary prop for the incense burners. And we got two performers who just stood there. What are they going to do? Jared said, “Nothing. Just stand there and swing. I think it would look funny.” So, that’s what we did.  We dubbed them the Priesty Boys. And they are there throughout the film. That was amazing about Jared. He was always like, let's just try it, see if it works. Otherwise ditch it. DS: Tell me about your work on Malgosha. And I also want to discuss your use of Unreal Engine and the previs and postvis work.  SS: For Malgosha as a character, our art department did a phenomenal job finding the character design at the concept phase. But it was a collective effort. So many contributors were involved in her making. And I'm not just talking about the digital artists here on our side. It was a joint venture of different people having different explorations and experiments. It started off with the concept work as a foundation, which we mocked up with 3D sketches before building a model. But with Malgosha, we also had the costume department on the production side building this elaborate cloak. Remember, that cloak kind of makes 80, 85% of her appearance. It's almost like a character in itself, the way we utilized it. And the costume department built this beautiful, elaborate, incredibly intricate, practical version of it that we intended to use on set for the performer to wear. It ended up being too impractical because it was too heavy. But it was beautiful. So, while we didn't really use it on set, it gave us something physically to kind of incorporate into our digital version. KE: Alan Henry is the motion performer who portrayed her on set and on the mocap stage. I've known him for close to 15 years. I started working with him on The Hobbit films. He was a stunt performer who eventually rolled into doing motion capture with us on The Hobbit. He’s an incredible actor and absolutely hilarious and can adapt to any sort of situation. He’s so improvisational. He came up with an approach to Malgosha very quickly. Added a limp so that she felt decrepit, leaning on the staff, adding her other arm as kind of like a gimp arm that she would point and gesture with.   Even though she’s a blocky character, her anatomy is very much a biped, with rounder limbs than the other Piglins. She's got hooves, is somewhat squarish, and her much more bulky mass in the middle was easier to manipulate and move around. Because she would have to battle with Steve in the end, she had to have a level of agility that even some of the Piglins didn't have. DS: Did Unreal Engine come into play with her?  SS: Unreal was used all the way through the project. Dan Lemmon and his team early on set up their own virtual art department to build representations of the Overworld and the Nether within the context of Unreal. We and Sony Imageworks tried to provide recreations of these environments that were then used within Unreal to previsualize what was happening on set during shooting of principal photography. And that's where our mocap and on-set teams were coming into play. Effects provided what we called the Nudge Cam. It was a system to do real-time tracking using a stereo pair of Basler computer vision cameras that were mounted onto the sides of the principal camera. We provided the live tracking that was then composited in real time with the Unreal Engine content that all the vendors had provided. It was a great way of utilizing Unreal to give the camera operators or DOP, even Jared, a good sense of what we would actually shoot. It gave everyone a little bit of context for the look and feel of what you could actually expect from these scenes.  Because we started this journey with Unreal having onset in mind, we internally decided, look, let's take this further. Let's take this into post-production as well. What would it take to utilize Unreal for shot creation? And it was really exclusively used on the Nether environment. I don’t want to say we used it for matte painting replacement. We used it more for say, let's build this extended environment in Unreal. Not only use it as a render engine with this reasonably fast turnaround but also use it for what it's good at: authoring things, quickly changing things, moving columns around, manipulating things, dressing them, lighting them, and rendering them. It became sort of a tool that we used in place of a traditional matte painting for the extended environments. KE: Another thing worth mentioning is we were able to utilize it on our mocap stage as well during the two-week shoot with Jared and crew. When we shoot on the mocap stage, we get a very simple sort of gray shaded diagnostic grid. You have your single-color characters that sometimes are textured, but they’re fairly simple without any context of environment. Our special projects team was able to port what we usually see in Giant, the software we use on the mocap stage, into Unreal, which gave us these beautifully lit environments with interactive fire and atmosphere. And Jared and the team could see their movie for the first time in a rough, but still very beautiful rough state. That was invaluable. DS: If you had to key on anything, what would say with the biggest challenges for your teams on the film? You're laughing. I can hear you thinking, “Do we have an hour?”  KE: Where do you begin?  SS: Exactly. It's so hard to really single one out. And I struggle with that question every time I've been asked that question. KE: I’ll start.  I've got a very simple practical answer and then a larger one, something that was new to us, kind of similar to what we were just talking about. The simple practical one is the Piglins square feet with no ankles. It was very tough to make them walk realistically. Think of the leg of a chair. How do you make that roll and bank and bend because there is no joint? There are a lot of Piglins walking on surfaces and it was a very difficult conundrum to solve. It took a lot of hard work from our motion edit team and our animation team to get those things walking realistically. You know, it’s doing that simple thing that you don't usually pay attention to. So that was one reasonably big challenge that is often literally buried in the shadows. The bigger one was something that was new to me. We often do a lot of our previs and postvis in-house and then finish the shots. And just because of circumstances and capacity, we did the postvis for the entire final battle, but we ended up sharing the sequence with Digital Domain, who did an amazing job completing some of the stuff on the Battlefield we did post on. For me personally, I've never experienced not finishing what I started. But it was also really rewarding to see how well the work we had put in was honored by DD when they took it over.   SS: I think the biggest challenge and the biggest achievement that I'm most proud of is really ending up with something that was well received by the wider audience. Of creating these two worlds, this sort of abstract adaptation of the Minecraft game and combining it with live-action. That was the achievement for me. That was the biggest challenge. We were all nervous from day one. And we continued to be nervous up until the day the movie came out. None of us really knew how it ultimately would be received. The fact that it came together and was so well received is a testament to everyone doing a fantastic job. And that's what I'm incredibly proud of. Dan Sarto is Publisher and Editor-in-Chief of Animation World Network. #minecraft #movie #wētā #helps #adapt

Breakdown & Showreels The Last of Us – Season 2: Horde Breakdown by Weta FX By Vincent Frei - 26/05/2025 In The Last of Us S2E2, Weta FX unleashed over 1,000 Infected from beneath the snow. The team combined live-action and digital artistry with 21 custom snow simulations to capture every chaotic movement. The result? A hauntingly beautiful sequence that left a lasting impression! WANT TO KNOW MORE?Weta FX: Dedicated page about The Last of Us – Season 2 on Weta FX website. © Vincent Frei – The Art of VFX – 2025 #last #season #horde #breakdown #weta

As if early June wasn't already going to be a wild enough time in the gaming world with the arrival of the Nintendo Switch 2, that's also when a whole host of showcases takes place as part of Summer Game Fest. Along with the two blockbuster events — Summer Game Fest Live and the Xbox Games Showcase — there are a bunch of other ones in store, including the always-delightful Day of the Devs. There could be even more on the docket. There's always a chance that Nintendo and Sony will run a Direct or State of Play, respectively, over the next few weeks. Ubisoft hasn't yet announced a Forward event for this year either — perhaps because it has delayed a bunch of big games and isn't ready to talk about them. We haven't yet heard about a Devolver Direct either. As things stand, SGF is slated to run from June 6 until June 8. With E3 officially dead, SGF is now the de facto replacement and the biggest event for announcements and updates this side of Gamescom in August. We'll update this preview as more details about the showcases emerge, including additional events in the SGF nebula. We'll embed videos for each stream as they become available as well. Engadget will be on the ground in Los Angeles for the in-person side of SGF, which is for media and creators. We'll be bringing you hands-on impressions of many of the games that are featured during SGF Live. Most folks will be keeping up with everything from home, though. To that end, here's a breakdown of how to watch Summer Game Fest 2025 and what to expect from the extravaganzaSummer Game Fest 2024 schedule Summer Game Fest Live — June 6, 5PM ET Day of the Devs — June 6, 7PM ET Wholesome Direct — June 7, 12PM ET Women-led Games Showcase — June 7, 1PM ET Latin American Games Showcase — June 7, 2PM ET Xbox Games Showcase — June 8, 1PM ET How to watch Summer Game Fest Live — June 6, 5PM ET Watch on YouTube or Twitch Putting aside our annoyance at the timing of this showcase — late on a Friday evening in the UK and right when many folks on the East Coast are clocking out for the weekend — Summer Game Fest Live is one of the bigger events in early June. It starts at 5PM ET and will run for two hours. Organizers are promising "spectacular new video game announcements, surprises and reveals." That's pretty compelling, especially since host Geoff Keighleydownplayed expectations ahead of last year's show.  We do know about a few games that will appear. SGF Live will include a fresh look at Wuchang: Fallen Feathers, a Soulslike action RPG from Leenzee, a studio based in China. That game will arrive in July. Open-world MMORPG Chrono Odyssey will make an appearance as well. You can watch SGF Live on more than 20 platforms, including YouTube, Twitch, X, TikTok, Steam and international services. The event will stream live from the YouTube Theater, and you can attend in person, if you like. In any case, we'll be bringing you all the major news from Summer Game Fest Live. We just can't promise we won't have an adult beverage with an umbrella next to us while we're covering the event. How to watch Day of the Devs — June 6, 7PM ET Watch on YouTubeor Twitch Immediately after SGF Live ends, the YouTube and Twitch streams will segue into the summer 2025 Day of the Devs stream. This indie-focused showcase invariably has a fantastic lineup of games worth keeping an eye on. Among the games making appearances are Possessorfrom Heart Machine and "nightmarish RPG" Neverway from Coldblood and co-publisher Outersloth. We'll also see something from House House— presumably the co-op "walker-talker" Big Walk that was revealed in 2023. In all, this edition of Day of the Devs will feature 20 games. Last year's show included 2024 gameof the year contender UFO 50, the very intriguing platformer Screenbound, survival climbing game Cairn, the delightfully kooky-looking Building Relationships and sci-fi mystery Phoenix Springs. My Steam wishlist somehow expands quite significantly after each Day of the Devs showcase. Weird how that always happens. How to watch Wholesome Direct — June 7, 12PM ET Watch on YouTube or Twitch Definitely don't overlook the smaller events that take place during SGF, as you can always find plenty of treats among them. One such event is the Wholesome Direct, which will feature around 60 cozy games. It will include world premieres, demo announcements and updates from publishers and developers including Playstack, btf Games, ustwo games and Wētā Workshop. How to watch Women-led Games Showcase — June 7, 1PM ET Watch on YouTube This one does what it says on the tin. It's a showcase featuring games from women-led and majority-women studios. Women-led Games will feature 39 titles, including world premieres and release dates. How to watch Latin American Games Showcase — June 7, 2PM ET Watch on YouTube The Latin American Games Showcase will feature more than 50 games, all of which are from Latin American developers, oddly enough. Expect world premieres, game update news and more from this one. How to watch Xbox Games Showcase — June 8, 1PM ET Watch on YouTube or TwitchWhat's the over/under on the number of times the phrase "day one with Game Pass" will appear on this stream? That's one phrase you can definitely expect to hear, but Microsoft will have plenty to share here. It's the biggest Xbox showcase of the year. There will be reveals and updates from across Xbox Game Studios, Bethesda and Activision Blizzard. Games that the company has in the pipeline include Fable, Perfect Dark, Gears of War: E-Day, Everwild, State of Decay 3, Clockwork Revolution, Hideo Kojima's OD and Contraband. It feels a little early for an update on The Elder Scrolls 6 since that game is still years away. But we may find out more about those other games and some we don't yet know about.  I have my fingers crossed for more info on the Blade game that Arkane Studios is working on. It's a reasonably safe bet that we'll see something about the next Call of Duty here as well. One game we'll definitely hear more about on June 8 is The Outer Worlds 2. That's getting its own time in the spotlight, with a dedicated event that will start as soon as the main Xbox Games Showcase ends. Meanwhile, several publishers and other organizations are hosting their own shows around SGF. Here's when those will take place:  IGN Live — throughout June 7 and 8 Southeast Asian Games Showcase — June 7, 3PM ET Future Games Show — June 7, 4PM ET  PC Gamer's PC Gaming Show — June 8, 3PM ETPhew. Get ready, gamers. Details on many, many new games are coming your way very soon.This article originally appeared on Engadget at #summer #game #fest #what #expect

Industry veteran David Conley has joined DNEG as executive producer. Conley previously served as executive producer at Wētā FX, where he managed productions such as Avatar: The Way of Water, Kingdom of the Planet of the Apes, and Alien: Romulus. In his new role, Conley will work closely with DNEG co-presidents of VFX, Rohan Desai and Merzin Tavaria, to guide creative development, production oversight, and partnership management. “I'm excited to join an innovative and dynamic team dedicated to creative excellence and fostering technical innovation,” said Conley. “DNEG’s commitment to ongoing success, growth, and technological advancement is inspirational, and I look forward to contributing to pushing boundaries at the intersection of content creation and technology.” “David’s passion for filmmaking and his experience and reputation as a world-class VFX leader position him perfectly for his new role with us here at DNEG,” added DNEG Group Founder and Global CEO Namit Malhotra. “Working at the intersection of creativity and technology, David has played a key role in the development and production of some of the biggest theatrical releases of modern times, and his expertise in the delivery of experiences beyond traditional screen formats aligns perfectly with the work we are doing to enhance and expand the ways in which audiences can interact and engage with their favorite characters and worlds.” Source: DNEG Journalist, antique shop owner, aspiring gemologist—L'Wren brings a diverse perspective to animation, where every frame reflects her varied passions. #dneg #adds #david #conley #executive

From The Heretic’s Gawain to Louise in Enemies, our Demo team continues to create real-time cinematics that push the boundaries of Unity’s capabilities for high-fidelity productions, with a special focus on digital humans.The pursuit to create ever more realistic digital characters is endless. And since the launch of Enemies at GDC 2022, we have continued our research and development into solutions for better and more believable digital human creation, in collaboration with Unity’s Graphics Engineering team and commercially available service providers specializing in that area.At SIGGRAPH 2022, we announced our next step: replacing the heavy 4D data playback of the protagonist’s performance with a lightweight Ziva puppet. This recent iteration sees the integration of Ziva animation technology with the latest in Unity’s graphics advancements, including the High Definition Render Pipeline– all with the aim of further developing an end-to-end pipeline for character asset creation, animation, and authoring.Along with the launch of a new strand-based Hair Solution and updated Digital Human package, the Enemies real-time demo is now available to download. You can run it in real-time and experience it for yourself, just as it was shown at Unite 2022.While the cinematic may not appear too different from the original, its final rendered version shows how the integration of Ziva technology has brought a new dimension to our protagonist.Ziva brings decades of experience and pioneering research from the VFX industry to enable greater animation quality for games, linear content production, and real-time projects. Its machine learning-based technology helps achieve extraordinary realism in facial animation, and also for body and muscle deformations.To achieve the level of realism in Enemies, Ziva used machine learning and 4D data capture, which goes beyond the traditional process of scanning actors in 3D scans. The static, uneditable 4D captured facial performance has now been transformed into a real-time puppet with a facial rig that can be animated and adjusted at any time – all while maintaining high fidelity.Our team built on that 4D capture data and trained a machine-learned model that could be animated to create any performance. The end result is a 50 MB facial rig that has all the detail of the 4D captured performance, without having to carry its original 3.7 GB of weight.This technology means that you can replicate the results with a fraction of the animation data, creating real-time results in a way that 4D does not typically allow.In order to achieve this, Unity’s Demo team focused on:Creating the puppetTo create this new version of Louise, we worked with the Ziva team. They handled the machine learning workflow using a preexisting 4D data library. Additional 4D data was collected from a new performance by the original Enemies actor. This is one of the unique advantages of our machine learning approach.With this combined dataset, we trained a Ziva puppet to accurately reproduce the original performance. We could alter this performance in any way, ranging from tweaking minute details to changing the entire expression.Using the 4D data capture through machine learning, we could enable any future performance to run on any 3D head by showing a single performance applied to multiple faces of varying proportions. This makes it easier to expand the range of performances to multiple actors and real-time digital humans for any future editions.The puppet’s control schemeOnce the machine learning was completed, we had 200–300 parameters that, when used in combination and at different weights, could recreate everything we had seen in the 4D data with incredible accuracy. We didn’t have to worry about a hand-animated performance looking different when used by a group of different animators. The persona and idiosyncrasies of the original actor would come through no matter how we chose to animate the face.As Ziva is based on deformations and not an underlying facial rig, we could manipulate even the smallest detail because the trained face uses a control scheme that was developed to take advantage of the fidelity of the machine-learned parameters/data.At this point, creating a rig is a relatively flexible process as we can just tap into those machine-learned parameters – this, in turn, deforms the face. There are no joints in a Ziva puppet, besides the basic logical face and neck joints.So what does this all mean?There are many advantages to this new workflow. First and foremost, we now have the ability to dynamically interact with the performance of the digital human in Enemies.This allows us to change the character’s performance after it has already been delivered. Digital Louise can now say the same lines as before, but with very different facial expressions. For example, she can be friendlier or angrier or convey any other emotion that the director envisions.We are also able to manually author new performances with the puppet – facial expressions and reactions that the original actress never performed. If we wanted to develop the story into an interactive experience, it would be important to expand the possibility of what the digital character reacts to, such as a player’s chess moves, with nuances of approval or disapproval.For the highest level of fidelity, the Ziva team can even create a new puppet with its own 4D dataset. Ziva also recently released a beta version of Face Trainer, a product built on a comprehensive library of 4D data and ML algorithms. It can be used to train any face mesh to perform the most complex expressions in real-time without any new 4D capture.Additionally, it is possible to create new lines of dialogue, all at a fraction of the time and cost that the creation of the first line required. We can do this either by getting the original actress to perform additional lines with an HMC and then using the HMC data to drive the puppet, or by getting another performer to deliver the new lines and retargeting their HMC data to the existing puppet.At SIGGRAPH Real-Time Live! we demonstrated how to apply the original performance from Enemies to the puppet of another actress – ultimately replacing the protagonist of the story with a different person, without changing anything else.This performance was then shown at Unite 2022 during the keynote , where Enemies ran on an Xbox Series X, with DX12 and real-time ray tracing.To further enhance the visual quality of Enemies, a number of HDRP systems were leveraged. These include Shader Graph motion vectors, Adaptive Probe Volumes, and of course, hair shading.Enemies also makes use of real-time ray tracing in HDRP and Unity’s native support for NVIDIA DLSS 2.0, which enable it to run at 4K image quality, comparable to native resolution. All of these updated Unity features are now available in Unity 2022 LTS.The brand new strand-based Hair Solution, developed during the creation of the Enemies demo, can simulate individual hairs in real-time. This technology is now available as an experimental package via GitHub, along with a tutorial to get started.By integrating a complete pipeline for authoring, simulation, shading, and rendering hair in Unity, this solution is applicable to digital humans and creatures, in both realistic and stylized projects. The development work continues with a more performant solution for hair rendering enabled by the upcoming Software Rasterizer in HDRP. We are also diversifying the authoring options available by adopting and integrating the Wētā Wig tool for more complex grooms, as showcased in the Lion demo.Expanding on the technological innovations from The Heretic, the updated Digital Human package provides a realistic shading model for the characters rendered in Unity.Such updates include:A better 4D pipelineA more performant Skin Attachment system on the GPU for high-density meshesMore realistic eyes with caustics on the irisA new skin shader, built with the available Editor technologyTension tech for blood flow simulation and wrinkle maps, eliminating the need for a facial rigAnd as always, there is more to come.Discover how Ziva can help bring your next project to life. Register your interest to receive updates or get early access to future Ziva beta programs. If you’d like to learn more, you can contact us here. #making #enemies #evolution #digital #humans

The full schedule for SIGGRAPH 2025 is out! While more sessions are always been added, I’ve gone through the list and found a few highlights. As usual, the Talks sessions are SIGGRAPH’s secret weapon of in-depth looks behind the scenes at VFX and animation projects. See the highlights below: Superman: Harnessing Numeric Power for Cinematic Magic, from Wētā FXDoodle: A Modular Toolset for 2D Artistic Control in the 3D Effects of The Wild Robot and The Bad Guys 2, from DreamWorks Animation Highly Accurate GPU-Accelerated Animation Rigs for Toothless, from Framestore Choreography of Hair and Cloth in Disney’s “Moana 2”, from Walt Disney Animation Studios Advancements in Non-Procedural Groom Workflows for Mufasa: The Lion King, from MPC/Technicolor Blinded By The Light: A Case Study Of HDR Integration In Animation Production, from Netflix Animation StudiosDesigning Oscar: Bespoke Tablet-Based Workflows for ILM StageCraft, from ILM Ooze Control: Procedural Shapeshifting FX in Pixar’s Elio, from Pixar Stabilizing Impossible Collisions with Loki, from Wētā FX Puppets to Pixels – Using live physical puppet performances for digital animation characters and creatures, from a range of presenters There are SO many more! Find the full programme here: / The post The SIGGRAPH 2025 program is out – here’s some highlights! appeared first on befores & afters. #siggraph #program #out #heres #some

Interviews A Minecraft Movie: Piotr Karwas& Elizabeth “Liz” Bernard– Digital Domain By Vincent Frei - 20/05/2025 With 20+ years in film and advertising, Piotr Karwas has supervised VFX for top directors including David Fincher and Tim Burton. His recent work includes The Electric State, Elevation, he’s here today to talk about the Digital Domain work on A Minecraft Movie. After discussing The Electric State with us a few months ago, Elizabeth ‘Liz’ Bernard is back—this time to talk about her work on A Minecraft Movie. How did you and Digital Domain get involved on this show? Piotr Karwas: We were approached by the Warner Bros. VFX team as they were looking to bring on an additional vendor to help complete the remaining visual effects work. It was also an opportunity to be the best dad ever, since both of my kids are huge Minecraft fans. How was the collaboration with Director Jared Hess and VFX Supervisor Dan Lemmon? Piotr Karwas: I’ve known Dan Lemmon since our time working together at Digital Domain. We collaborated on several projects in the early 2000s, so it was a great opportunity to team up again. As for Jared, I’ve been a fan of his work ever since his first feature, Napoleon Dynamite. Years ago, I also had the chance to briefly work on his film Gentlemen Broncos. The blend of Jared’s signature humor with the global phenomenon of Minecraft was simply too exciting to pass up. I knew I wanted to be involved. Although Digital Domain joined the project later in the production process, we quickly got up to speed and delivered our work on time, despite some challenges. What are the sequences made by Digital Domain? Piotr Karwas: Our primary focus was the final battle sequence, but we also contributed to several fully live-action shots featuring set extensions and some CG animation, primarily around the entrance to the mine. Could you walk us through the process of creating the 500+ Piglins and Iron Golems clashing in that 360° battlefield? What were some of the major technical challenges in making that sequence come to life? Piotr Karwas: One of the key creative challenges was striking the right balance between honoring the iconic look and feel of the game while delivering a cinematic, action-packed experience. The goal was to blend a sense of realism through the movement and design of characters and environments with the charm and style of the Minecraft universe. Under the guidance of Jared and Dan, and in close collaboration with the other vendors, we were able to craft something truly unique. The battle unfolds during the Piglin invasion, as the sunny atmosphere of the Overworld begins to transform into a darker, more menacing environment reminiscent of the Nether. The entire battlefield was designed to function seamlessly in both visual states, capturing the warmth and cheer of the original Overworld, while also supporting its dramatic shift into a hellish landscape filled with fire and gloom. Additionally, the stylized world of Minecraft presented some technical hurdles, especially in large scale crowd sequences. The characters’ unconventional anatomy, limited range of motion, and signature fighting styles added an extra layer of complexity but also pushed us to be creative and innovative. Liz Bernard: We started out with 10 piglins, each of which had 2-6 costumes, plus 8 weapons and 2 torches. We were able to get a lot of variety out of that for our piglin horde. The golem army was smaller and more uniform, and golems are too powerful to be messing around with weapons. Instead, they prefer to use their iron arms to smash through their opponents, so we didn’t have as many different iterations, costumes, and such for the iron golems. In Animation, we moved as fast as possible to clean up and modify a big pile of motion capture so that we could provide our Crowds team with over 300 unique animation cycles and clips. Those clips included everything from golems doing windmill arm attacks, to piglins hacking at golem legs with axes and swords, to baby piglins running around in circles, freaking out. Although we started with motion capture for most of the piglin actions, transferring those actions from a full sized human mocap actor onto 10 different blocky piglins with giant angular heads and different body proportions meant each mocap clip needed a lot of adjustment. For example, piglins cannot raise their square little arms very high because their shoulders will quickly crash into the head. Once we had ploughed through that chunk of work, our Crowds team strung those actions together in Autodesk’s Golaem software to create the crowds seen in the backgrounds of our shots. In the mid-ground, we animated a custom set of longer battle vignettes that we could reuse in a number of shots by reorienting them to camera and offsetting their timing. And of course, there was quite a lot of hero animation to fill in the foreground and tell the story of the ebb and flow of battle. Minecraft is known for its blocky aesthetic. How was the animation rigging approached to stay true to that while enhancing the characters’ performance for live action? Liz Bernard: The piglins, hoglins, and wolves were rigged as pretty standard fleshy characters. The wolves had blocky chests and hips, which our Rigging team kept relatively stiff to preserve the original block shape even when we posed the characters in action. Because we were in a hurry on this fast-paced show, we needed to get rigs into Animation’s hands as quickly as possible, so we ended up relying on our shot modeling/sculpting team to adjust some of the characters’ bodies after animation was approved. They paid special attention to the final look of their shoulders, elbows, and knees, to make sure that the bend at each joint stayed as blocky as possible. The iron golems were a lot trickier to get right because they were made of stiff blocks of metal, had no deforming parts, and their joints were extremely simple. We discovered right away that making an iron golem walk meant instant intersections where the legs attach to the hips and the arms attach to the shoulders. So, to solve that problem and get the golems engaged in the battle, we had to give the animators complete control over every body part. This is not something we typically do because it’s easy to go overboard and end up “off model,” but in this scenario, it was absolutely required. This level of control gave the animators the option to offset body parts to achieve the necessary range of movement without visible intersections on screen or gaps in silhouette. Houdini was used to procedurally generate environments for the film. What were some of the most challenging aspects of creating such vast, dynamic landscapes? Piotr Karwas: The environments posed a unique challenge, not just because of their blocky nature, but because it was essential to make the Overworld feel like a tangible, real place. Some design choices were influenced by physical sets that had been built, while others drew inspiration from the real world. We focused on introducing a sense of natural imperfection, subtle elements like slightly uneven lines, worn edges, scuff marks, scattered debris, dirt, and even touches of realistic vegetation. All of this had to be carefully integrated into the strict, grid-based aesthetic of the Minecraft universe. Our environment team rose to the challenge and delivered a highly detailed immersive location, while working under a demanding production schedule. What were the biggest challenges in adapting Minecraft’s creatures and characters into a live-action setting while retaining their iconic charm? Liz Bernard: Because we came onto the project towards the end of shot production, we were able to use other vendors’ work as a rough guide for how our characters should move and behave. The Iron Golems in particular were a fun challenge, and although Sony had a few shots that we could refer to for the overall movement, it was up to us to establish their combat style. We researched how the golems fight in the game, which, as it turns out, is quite simple. We stuck with the game’s stiff legged walk, simple straight arm swings and skyward scoops to match the game’s iron golem attack style as closely as we could. However, purely matching the game wasn’t going to look quite right in a live action environment with human actors. So, on top of the simple performance, we layered weight shifts to counterbalance the heavy arms. We also added some additional step patterns to get them into position to attack piglins so that they would appear clever and more agile without straying too far from the game aesthetic. We also improved the contacts between the golems’ arms and each piglin to really sell the sense of effort and weight in each attack and hit. The destruction of the Overworld Portal seems like a monumental task. How was such an epic scene created, and what role did the environment and FX teams play in bringing it to life? Piotr Karwas: One of the biggest challenges was figuring out the mechanics of how large-scale destruction would play out in the Minecraft world. We had to carefully determine which elements would follow real-world physics and which could behave in a more stylized, game inspired way. We also spent considerable time designing the post-collapse remains to ensure they were visually compelling and cohesive for the staging of the shots that followed. The portal destruction sequence, in particular, appeared in the two widest shots of the entire sequence. These moments required both armies to be on screen, complete with fallen Iron Golems, defeated or pork-chopped Piglins, and digital doubles for every actor. It was a massive technical, logistical, and creative undertaking. We worked on these shots all the way to the final hour. Can you describe the bespoke zombification transformation pipeline developed for the Piglins? How did this process differ from traditional character transformations? Piotr Karwas: By the time we joined the project, the zombification effect had already been largely developed by Weta FX. One of our main challenges was matching their established look while ensuring visual consistency across both their shots and ours. At the same time, we knew we had to push the effect further. After all, this was the grand finale, where the evil army was being defeated. We also wanted the transformation to feel distinct, especially when applied to large numbers of Piglins. To achieve that, we went as far as building complete skeletal systems that could be revealed during the transformation. How was lighting handled to simulate firelit nighttime chaos? What tools or techniques were critical in creating that atmosphere? Piotr Karwas: To achieve the most realistic look, we used actual fire simulations to drive the lighting on both the characters and the environment. We initially started with just a few fires, but Jared was drawn to the striking visual accents and the warm hues they cast on the characters. As a result, we ended up populating the scenes with hundreds of fires. The air was also filled with atmospheric elements like smoke, ash, and embers, all contributing to a richly textured, apocalyptic feel in every shot. To manage this across numerous shots, we developed semi-automated methods to batch simulate the effects efficiently. How was humor incorporated into the animation, especially with subtle gags like pork chops dropping onto the battlefield or background antics? What approach was used to time these moments? Liz Bernard: We had a good time adding easter eggs and gags into this epic battle scene! Piotr let me know early on that Jared would welcome goofy touches, especially on background characters, so I made sure to pass that information on to my team of animators. What did I get back? Nose picks, butt scratches, belly slaps, and all sorts of goofy behaviour in the background. We usually didn’t center those things in the action unless it was called for in the script, but if you look carefully, you’ll find maximum silliness all over the place. And, of course, I have to mention the Great Hog here. He was probably our funniest character and the most challenging to animate. His style of movement was dictated by his unusual proportions, in particular, his itty-bitty legs and long chunky arms. Those stumpy legs meant his stride was super short unless he broke out into a full quadruped gallop, which our team animated with extra oomph and effort to get a good laugh. The Great Hog’s low rider pants took a dive after one particularly strenuous sprint across the battlefield to attack Natalie. When he rose up on hind legs in anticipation of smashing her with his giant blocky fists, Jared wanted to make sure that the audience could see clearly the gag that his butt crack was showing. In VFX, we traditionally call a gradient of options that we would pitch to the client a “wedge.” In this case, we needed to get a read on how low to go with the pants before we simulated them in CFX, so we sent over a “wedge” for the pants and butt crack for Jared to pick from. In this case, I guess it was actually…a wedgie. How was the visual humor seamlessly integrated into the more intense action sequences, and was there a particular moment that captured this balance perfectly? Liz Bernard: The visual humour was baked into the action from the get-go, from game to storyboards to previsualization. I mean, there’s something inherently funny about dozens of piglins in shorts getting smacked high up into the air and then poof! turning into porkchops. When I welcomed each animator to the show, I made a point of mentioning that they were a little more free to tell jokes with pantomime on this show than they might be used to on more realistic productions. Because we were always in a mindset to make each shot as funny as possible without distracting from the story points, the flavour in animation dailies was always funny. My team pitched piglins getting run over by the Great Hog by accident, baby piglins riding on an iron golem attempting to attack its head, some utterly hilarious slow-mo action with exaggerated overlap a la Baywatch, a hoglin and piglin rider mugging for the camera as they gallop by in the foreground, wolves clamped on by their teeth to the waistband of the Great Hog, and a whole lot of over-acted melodramatic writhing as the piglins zombified after the portal collapsed. You don’t have to tell animators twice to be silly. With such a large-scale project, how did the animation and VFX teams collaborate to maintain a cohesive style across both departments? Were there any specific moments where this collaboration stood out? Liz Bernard: This was a ripsnorter of a project timeline, so all departments were hitting the ground running and developing their parts of the project concurrently. That’s always challenging and requires a lot of communication to pull off. We had a bullpen of experienced folks in our show leadership, and knowing what each other’s departments could and couldn’t do saved us a lot of time as we ramped up. For example, we were able to establish a single groundplane early in our animation schedule, which helped us avoid having to adjust the character’s feet contacts to an evolving environment even as artists were still building the overworld battlefield. The Environments team did a great job set dressing the environment after we had placed our animation and crowds’ characters, so that we did not need to worry about running through plants, pebbles, fires, or corpses. The FX department established a workflow with the Crowds team to “porkchop” any crowds piglin that got smacked by crowds’ iron golems. Setting these rules and criteria helped each department streamline their processes. And, our production team did an absolutely incredible job making sure that every department stayed on target, communicated their roadblocks and breakthroughs effectively downstream, and adjusted the schedule to compensate. I think the moment where this collaboration really shone was when we saw all of the zombification shots at the end of the sequence starting to fall into place. One day, it felt like we had all of them left to tackle, and the next, we had our methodology kinks worked out and they all started to drop like dominoes. Piotr Karwas: As Liz mentioned, the schedule was extremely tight, especially for executing the film’s grand finale. We had to move quickly and strategically, knowing that things would evolve and change throughout production. I’m incredibly grateful to our amazing team at Digital Domain. Across all four locations, Los Angeles, Vancouver, Montreal, and Hyderabad, our artists worked around the clock to bring it all to life. Yes, there were long hours, high stress, and the usual frustrations with technology that doesn’t always behave but in the end, it was all absolutely worth it. Seeing kids enjoy the movie so much made everything worthwhile. Chicken Jockey! Looking back on the project, what aspects of the visual effects are you most proud of? Piotr Karwas: Without a doubt, the Great Hog’s butt crack was the highlight for me. Liz Bernard: Just the sheer scale of this thing is wild. This is one of those “more is more” kinds of projects that don’t come around so often in our world of photorealistic visual effects. Nothing was supposed to be “real” here, everything was exaggerated, every frame we produced was chock full of crazy action, over the top humor, and easter eggs. I’m very proud of our animation team for embracing this hilarious show in a more cartoony style that we don’t often have the opportunity to tackle. And, man, it tickles me that the fans got such a huge kick out of it all when the movie hit theatres. What else can you ask for? How long have you worked on this show? Piotr Karwas: About six months Liz Bernard: Just six months from start to finish. What’s the VFX shots count? Piotr Karwas: Digital Domain delivered 187 shots not including omits. What is your next project? Piotr Karwas: A Minecraft Movie I hope. Jokes aside, I’m looking at a whole slate of different projects. Liz Bernard: All I can say right now is that it’s a science fiction film that comes out in 2026. Stay tuned! A big thanks for your time. WANT TO KNOW MORE?Digital Domain: Dedicated page about A Minecraft Movie on Digital Domain website. © Vincent Frei – The Art of VFX – 2025 #minecraft #movie #piotr #karwas #vfx