On 5 December 2025, Netflix and Warner Bros. Discovery announced that Netflix will acquire Warner Bros. Discovery’s film and television studios, streaming business (including HBO and HBO Max), and the associated content libraries and studios. The deal values the acquired assets at a total enterprise value of approximately $82.7 billion, with an equity value of $72 billion.

The transaction gives each WBD share a price of US$27.75. The deal excludes WBD’s linear cable and global-networks assets; those will be carved out into a separate publicly traded company named “Discovery Global,” expected to spin off by Q3 2026. Netflix expects the acquisition to close in 12–18 months, pending regulatory approval and completion of the spin-off. Since some of the other bidders are “politically connected”, expect another heap of twitterized lawsuits for that.

(Update, 15 hours later: Who called it? Here we go with the Counter offers and lawsuits. https://www.cartoonbrew.com/business/paramount-108-billion-bid-warner-bros-discovery-257437.html)

What the acquisition includes and what stays separate

Under the deal, Netflix acquires Warner Bros. film and television studios, including DC Studios and Warner Bros. Motion Picture Group, HBO and HBO Max with their libraries, Warner Bros. Television, Warner Bros. Games, distribution, licensing, and publishing divisions. Excluded from the acquisition are WBD’s cable-network assets, the linear television and global-networks division will become “Discovery Global” and remain separate. Netflix says it will maintain Warner Bros.’ current operations, including theatrical releases for films.

Why Netflix won the bidding war and valuation

The acquisition follows a competitive bidding process that involved potential buyers such as Paramount Skydance and Comcast. The WBD board concluded that Netflix’s offer was the only binding and complete bid. Netflix’s offer combined cash and stock and included a breakup fee of $5.8 billion in case the deal fails regulatory review, signalling Netflix’s confidence in closing the transaction.

What changes (and what remains uncertain)

Netflix and WBD state the combination will increase global reach, emphasise strong content libraries, and provide Netflix with expanded studio capabilities and production capacity in the United States. The acquisition brings major intellectual property under Netflix’s control including film and TV franchises, libraries, and game divisions.

What remains uncertain is how distribution strategies will evolve. While Netflix claims it will continue theatrical releases for Warner Bros. films, it is unclear whether Netflix will maintain the same release windows for streaming versus theatrical distribution. That may have implications for cinemas, distributors, and production schedules.

Regulatory approval is not yet secured. The deal will likely face scrutiny under competition laws in multiple jurisdictions. There is uncertainty around how the spin-off and separation of Discovery Global will occur, and what assets exactly will end up under that new entity. Because of the scale and complexity, studio artists, VFX houses, post-production facilities, and collaborators should treat any assurances from Netflix or WBD as provisional until closing and integration are complete.

Netflix already consolidating VFX: Eyeline merges Scanline

Earlier in October 2025, Netflix unified its internal visual-effects companies by merging Scanline VFX and Eyeline Studios under the single brand “Eyeline.” This reorganisation brings together decades of cinematic VFX expertise (Scanline) with Eyeline’s virtual-production, volumetric-capture, and AI-driven research under one roof. Netflix said the merger aims to combine “nearly four decades of VFX artistry” with virtual-production and AI-enabled tools to serve global productions. What remains unclear is whether Netflix plans any further downsizing of facilities or consolidation beyond the brand merge. No public statement confirms closures or reductions of studio locations.

Netflix Merges Scanline and Eyeline

Implications for VFX, Post-Production and Content Workflows

For freelancers, vendors, and boutique VFX houses, the consolidation inside Netflix via Eyeline and the larger Warner-Bro acquisition may have mixed effects. On one hand, Netflix now controls a vastly expanded content pipeline, which could mean increased demand for VFX, post-production, and localisation work. On the other hand, Netflix’s unified internal VFX-production pipeline could reduce reliance on external vendors, especially for projects they expect to keep fully in-house.

For post-production, VFX and colour-grading professionals, consolidation of content ownership and VFX capacity under Netflix could lead to fewer independent buyers controlling large budgets. This may impact bargaining power for smaller studios.

Distribution and release-window strategies might change under the new ownership. That could affect production scheduling, pipeline planning, and coordination between VFX houses and distributors. International distribution, licensing, and localisation pipelines may see changes depending on how Netflix reorganises Warner’s global rights business and integrates it into its existing infrastructure.

Conclusion

Netflix’s decision to buy Warner Bros. Discovery and simultaneously restructure its in-house VFX operations suggests a clear push toward vertical integration from production and post to distribution and global rights. For the post-production and VFX community this presents a new landscape: increased capacity and content volume, but potentially decreased vendor diversity and bargaining power.

The post Netflix buys Warner Bros. first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

Netflix has consolidated its visual effects and virtual production divisions, merging Scanline VFX and Eyeline Studios into a single brand, Eyeline. The company confirmed that all existing studio locations will remain operational. According to Netflix, the move unites Scanline’s long-standing expertise in cinematic visual effects with Eyeline’s advances in virtual production and volumetric capture. The reorganisation aims to bring both teams under one creative and technical framework.

Scanline’s Legacy in Simulation and Cinematic VFX

Founded 36 years ago, Scanline VFX built a reputation for large-scale simulation work and complex VFX integration. The company received a Scientific and Technical Academy Award for its proprietary fluid simulation software, Flowline, which has become a production mainstay for photorealistic water and particle effects. Scanline’s recent credits include Stranger Things, Wednesday, Avatar: The Last Airbender, Godzilla x Kong: The New Empire, and Netflix’s The Woman in Cabin 10. The studio also earned a 2025 Emmy Award for Outstanding Special Visual Effects for its work on Andor Season 2.

Eyeline Studios: Virtual Production Meets Research

Launched in 2019, Eyeline Studios focuses on virtual production, volumetric capture, and lighting simulation. Its proprietary Light Dome system replicates real-world lighting with measurable precision, offering filmmakers consistent and reproducible conditions across digital and live-action environments. Eyeline received the Visual Effects Society’s Groundbreaking Technology Award for its volumetric capture stage. The setup was recently used in Wednesday Season 2 to create Christopher Lloyd’s Professor Orloff and has also supported production on Happy Gilmore 2 and the upcoming A House of Dynamite.

Generative AI Enters the Pipeline

Eyeline has also been applying generative AI tools to assist in production workflows, particularly in The Eternaut (El Eternauta), Netflix’s Argentine sci-fi adaptation. Netflix describes these AI-driven tools as supporting creative collaboration and efficiency, though specific implementations have not been detailed publicly. The company has not disclosed which AI systems or models are in use.

Unified Brand, Global Ambition

With both divisions now operating under the Eyeline name, Netflix says the merged entity will combine “nearly four decades of VFX artistry” with “cutting-edge virtual production and AI-enabled tools.” The company’s stated goal is to “pioneer new technologies that enhance creative collaboration and streamline workflows for filmmakers worldwide.” Current and upcoming projects involving Eyeline include Stranger Things Season 5, Wake Up Dead Man: A Knives Out Mystery, The Witcher Seasons 4 and 5, One Piece Season 2, Godzilla x Kong: Supernova, Spider-Man Noir, and Daredevil: Born Again Season 2.

Testing the Promise

While Netflix presents Eyeline as a future-facing production hub, the operational impact for external vendors and production partners remains unclear. Details on how Eyeline will collaborate with outside VFX houses or integrate third-party workflows have not yet been released.

The post Netflix Merges Scanline and Eyeline first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

The Blackmagic URSA Cine 17K is Netflix Approved – Blackmagic Design’s URSA Cine lineup builds directly on the URSA Mini Pro 12K precedents. The 17K version shares the same body as the Cine 12K, swapping in a 65 mm 17K digital sensor and offering interchangeable LPL and Hasselblad mounts while retaining the integrated ND filters, built‑in monitors, and 8 TB media module architecture. The Cine 12K, introduced in April 2024, established the full‑frame large format sensor platform with a staggering 16‑stop dynamic range (claimed) and support for 80 fps in 12K, 144 fps in 8K, and 240 fps in 4K.

Netflix Approval and Capture Protocols

Netflix requires at least 90 percent of a program’s final runtime be captured on approved cameras that meet strict benchmarks for dynamic range, color, detail, signal‑to‑noise ratio, resolution, and workflow compatibility (partnerhelp.netflixstudios.com). The URSA Mini Pro 4.6K G2 and URSA Mini Pro 12K OLPF versions are already on that approved list. The URSA Cine 17K, having passed Netflix’s technical evaluation, joins that roster—even though it’s not yet available for sale.

Netflix’s minimum capture requirements include a resolution of at least 3840 photosites in width, 10‑bit (or higher) codec support, and a data rate of 240 Mbps at 24 fps. Capture must use lightly compressed or uncompressed RAW or intra‑frame 4:2:2 codecs in scene‑referred color space with log transfer functions. Cameras must also support external jamming and accurate timecode metadata. Approved devices provide reliable logging, consistent naming conventions, and professional media that withstands the rigours of extended shoots.

Launched over the years, the broader URSA family spans multiple sensor and resolution formats. It began with the original URSA (4K/4.6K) in 2014, expanded through the Mini, Mini Pro (with interchangeable lens, ND filters, and dual media slots), then advanced to the URSA Mini Pro 12K in July 2020, and subsequently the OLPF variant (approved by Netflix in April 2023). Meanwhile, URSA Broadcast models catered to ENG and studio workflows. The Cine series now reflects Blackmagic’s top range, focusing on large‑format cinematography with high‑resolution capture and professional rig compatibility.

Best Practices for On-Set Netflix Capture

When shooting with Netflix-approved cameras, productions should capture in the native wide-gamut log format (e.g., S‑Log3, LogC, VLog) or RAW, and avoid baking in any looks. RAW remains preferred for metadata flexibility, but high-quality intra-frame codecs like ProRes 4444(XQ), DNxHR 444, or XAVC‑I are acceptable when storage constraints apply .

Monitoring setups should replicate the camera’s capture characteristics, and footage needs to be lapped by framing charts and dead-pixel checks. Use CDL or LUT-based workflows for non-destructive on-set grading, and ensure all monitors are calibrated ahead of runtime . Productions must test any non-approved ‘B‑cam’ systems under real conditions to confirm compatibility, and confirm fallback to approved workflows if necessary.

Availability and Holiday Planning

Despite its Netflix endorsement, the URSA Cine 17K is not yet on the shelves, so professionals hoping to upgrade should not expect immediate availability—perhaps start your Christmas wishlist early. While Blackmagic announces “will be available soon,” no exact ship date has been confirmed.

Testing Reminder

All technical advances, even Netflix-approved models, should be tested thoroughly in your own environment before integrating them into production pipelines. Each project presents unique challenges in logistics, workflow, and image capture—due diligence is essential.

Netflix Partner Help Center (partnerhelp.netflixstudios.com)

The post Blackmagic URSA Cine 17K Slides Into Netflix’s List first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

The FMX 2025 conference, set to run from May 6 to May 9 in Stuttgart, promises a lineup at the forefront of digital production. Two highlights have already been announced, blending the art of visual effects with the transformative potential of artificial intelligence.

Stockholm-based VFX powerhouse Important Looking Pirates (ILP) will take the stage to present their work on Netflix’s adaptation of Ronja Räubertochter. Based on Astrid Lindgren’s beloved children’s book, the series launches on the ARD Mediathek on December 20, with linear broadcasts over Christmas and later streaming availability on Netflix.

ILP’s VFX team, including Production VFX Supervisor Torbjörn Olsson and VFX Supervisor Martin Hernblad, spent two and a half years navigating a gamut of challenges. Among their innovations: strapping iPhones to faces, dressing actors in motion-capture suits, and conjuring CG snow-dwelling, feathered creatures with speaking roles.

Meanwhile, artist and technology expert Martin Nebelong will delve into the intersection of human creativity and generative AI. Eschewing the simplicity of text-based prompts, Nebelong has developed workflows integrating traditional artistic methods—like brushstrokes, 3D sculpting, and animation—into AI-driven production. His exploration aims to regain creative control, which he argues has been diluted by over-reliance on generic AI prompts. FMX participants can expect a demonstration of Nebelong’s techniques, revealing how generative AI can enhance storytelling without sidelining human artistry.

Beyond the presentations, FMX 2025 offers its signature opportunities for networking and innovation. Companies and educational institutions can participate in the Marketplace, Recruiting Hub, and School Campus. The Marketplace showcases the latest technical tools, while the Recruiting Hub connects studios with emerging talent. The School Campus serves as an educational fair where prospective students can meet alumni and faculty from film schools worldwide.

The FMX Boards, available online, outline the guiding vision for 2025. Board members contribute to shaping the program with their insights into industry trends and emerging technologies. As FMX Director David Schäfer aptly put it: navigating the ever-expanding universe of animation, VFX, and interactive media sometimes feels like steering a starship into uncharted galaxies. Tickets and program updates are available on the official FMX website. Early registration is recommended.

The post Ronja Räubertochter Meets Generative AI: FMX 2025 Highlights Unveiled first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

Well, the documentary „Our universe“ has a bigger scope than the west of England, but the VFX House Lux Aeterna is based there – and we got a chance to chat to VFX Supervisor Paul Silcox!

DP: To get a sense of the scope of your project, how many full CG shots did you create for the six episodes? Was there anything you didn‘t simulate?
Paul Silcox: Hi, yes, we did visualise a lot of phenomena but not everything was simulated, where possible we leaned on proceduralism in Houdini to produce the variety of FX. In the end there were nearly 400 full CG shots in the show and nearly 700 shots in total, these were produced over an 18-month period.

DP: How big was the team for this show, and what was your “primary” pipeline?
Paul Silcox: The team for Our universe varied over the production but was generally between 20 and 30. We had a very senior team working FX, Lighting and comp so we were able to deliver beautiful shots effi­ciently. In order to handle the sheer amount of active shots and the massive amounts of data utilised in the show we boosted our IT infrastructure adding 70 High-end render nodes, high bandwidth network hubs and super fast SSD storage. Managing all of this is our bespoke Shotgrid and Deadline management software.
The core of the studio‘s creative output is based around Houdini, Maya and Nuke and this is managed through Shotgrid, though we still work in C4d and After Effects for certain shots or projects. Our renderers of choice
for Our Universe were Arnold, Mantra and Redshift.

DP: Did you use different toolsets for the different shots?
Paul Silcox: Houdini was our go to creative package for a lot of phenomena and this was supported by Maya and Nuke. The power of Houdini to test ideas and play with concepts allowed us to communicate scientific stories in a variety of new and interesting ways.
Our Universe was a dream job as there were so many examples of phenomena that we had to synthesize, from the inside of the cell to the inside of the sun there was always a new creative challenge. The atomic sequences are a great example of the type of collaboration that marked the production – our CG Supervisor created a beautiful sequence visualising the interaction of atomic particles and the FX department was tasked with developing a system that could replicate the look across a variety of shots. The team developed a procedural SDF system in Houdini that was relatively light-weight and art directable and this was used to demonstrate the many atomic interactions that drive the universe.

DP: Did you add any special tools to the Houdini pipeline?
Paul Silcox: Houdini was our primary FX software though there were other packages used for simulation FX. For one sequence we handled a massive SPH dataset computed in SWIFT at Durham University on the Cosma supercomputer. The data arrived in HDF5 format and was converted to a usable format for visualisation in Houdini. We also use MASH in Maya, particles in nuke and we use After Effects with Element 3D.

DP: And then you added particles to everything?
Paul Silcox: Lux Aeterna‘s Comp team did a brilliant job of working with Houdini and Maya environments, simulations and FX and they are always adding a sprinkle of something to a shot, from volumetric lighting to new particles. Our 3D teams worked closely with comp to make sure they had everything necessary in the renders from an AOV point of view and all shots were lit and rendered in ACES colour space to the required delivery spec.

DP: How did you keep an overview of these many, sometimes rather similar shots?
Paul Silcox: Lux Aeterna used Shotgrid to manage the shot delivery and our workflows allowed for there to be a significant number of shots to be live and worked on concurrently. Production was brilliant at managing the reviews through the playlists on shotgrid and for the artists this worked very well. You‘d think that it would be easy to get confused when the differences between shots are subtle but it‘s like the penguins finding their young, once you have worked on a shot you can find it and talk about it instantly no matter how many similar versions you have worked on.

DP: Did you have to develop something from scratch for “Our Universe”?
Paul Silcox: Our Universe presented many challenges and Lux Aeterna responded in a variety of ways developing numerous new workflows, one example was our collaboration with Amazon AWS. We had used online render farms many times before but we had never needed so many hours of rendering in such a short delivery window. We worked closely with the UK and US teams to implement the AWS software and learn the intricacies of working with datacenter infrastructure to add several hundred nodes to our render capacity at peak times.

DP: And speaking of delivery, how long did you (approximately) render per frame?
Paul Silcox: Ha, how long is a piece of string? Let me just say this, there were a significant number of shots with super complex volumes, billions of voxels instanced many times, SSS shots with full frame transmission and scenes with many millions of polygons, all rendered at 4K. A lot of these shots would take 5 hours plus per frame to render all layers so the demand on the render farm was huge.

DP: In comparison to other shows like Blue Whales or 8 Days, what were the difficulties in the pipeline?
Paul Silcox: Our Universe was complex and wide ranging in its scope but the demands are always the same, more power, more storage and more bandwidth. Lux Aeterna has developed a pipeline to handle the complexities of a show like Our Universe and I was proud to see it delivered so efficiently.

DP: There were “pickup” and “inbetween shots” in almost every jump from documentary footage, animals, and the space-pictures – did you have a library for that, or did you create a shot for each?
Paul Silcox: Our artists worked particularly hard on the interstitials creating the timelapse and spatial jump effect that bridged the many sequences. We didn‘t rely on anything except the creative flair and extreme hard work by our dedicated team.

DP: I assume that some shots had “invisible Vfx” as well?
Paul Silcox: There was definitely some cleanup and augmentation as this is always the case for this type of show. Our comp team worked brilliantly to create the continuity in the show though you‘ll have to look hard to find it!

DP: How did you balance between the “Look” and the input from the scientific advisors?
Paul Silcox: Finding the balance between science and entertainment is always a journey, luckily we have experienced and senior creatives with a long history of scientific storytelling having worked on BBC Science shows like ‚Wonders of the Universe‘, ‚Wonders of Life‘ and ‚Human Universe‘, just to name a few. They brought this considerable experience to the show working closely with the showrunner Mike Davies and the brilliant Producer Directors to deliver a cinematic vision and relatable stories to the screen.

DP: What would you do differently if you started at Episode One again?
Paul Silcox: VFX is a dynamic business and so we are always looking forward not back, having said that there are always efficiencies to be found. In an ideal world I would share ALL of our knowledge with our younger selves, even if all it did was bring the render times down.

DP: And what was your favourite shot?
Paul Silcox: Of course, as the supervisor I‘m not allowed to have favourite shots ;). I would say that the first episode was fun as we were right at the beginning of our journey and discovering a look for the programme, it was a really exciting time.

DP: What are you working on now?
Paul Silcox: We are always under such strict rules when it comes to discussing live projects but what I will tell you is that as well as our unscripted slate we are very happy to be working on more scripted productions and as always we are developing new ways to tell stories and continuing to challenge our skills in environment and FX.

The post Our Universe of… Houdini? first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

FMX 2023 also combines a look at past achievements with brand-new developments: The THEN & NOW track highlights visual effects and stop motion animation, while the N.E.W.S. track focuses on future productions by deserving animated filmmakers, including animation producer Manuel Cristóbal (BUÑUEL – IM LABYRINTH DER SCHILDKRÖTEN) with the project THE GLASSWORKER, the first hand-drawn animated film from Pakistan. Series will not be neglected either: a talk on the Netflix show SANDMAN will focus on the VFX highlights of the adaptation of Neil Gaiman’s successful graphic novel. Other companies and universities have also confirmed their participation in the FMX Forum – and Foundry, Maxon and ASUS are new Silver Partners. Tickets for the entire conference and forum programme are still on sale online; however, the Early Bird discount is only valid until 13 March. As a long-standing event partner, the Stuttgart International Festival of Animated Film (ITFS) will be presenting an insight into the upcoming edition.

Programme commitmentsOnsite in Stuttgart: Manuel Cristóbal (BUÑUEL – IM LABYRINTH DER SCHILDKRÖTEN) talks about THE GLASSWORKER Alex Dowding with insights into APOLLO 10 1/2 Juan Pablo Zaramella (LUMINARIS) shows creative process With N.E.W.S., FMX 2023 presents an outstanding series of events with leading creative minds from all over the world. Award-winning animated film producer Manuel Cristóbal (WRINKLES, BUÑUEL – IN THE LABYRINTH OF THE SHIELDS, LOST IN GALICIA) will talk about his recent collaboration with director Usman Riaz on his new film THE GLASSWORKER. Amsterdam-based Studio Submarine is known for its innovative work on high-profile hybrid animation projects, notably Richard Linklater’s APOLLO 10 1/2 and the acclaimed TV series UNDONE – producer Alex Dowding will be on hand to discuss APOLLO 10 1/2. FMX is also delighted to welcome back inspirational stop-motion director Juan Pablo Zaramella from Argentina. His highly acclaimed short film LUMINARIS has won over 324 awards and is a global audience favourite. Juan Pablo is currently working on his new feature film I AM NINA. These two sessions will showcase the exciting creative possibilities that arise when you bring together talent and studios from different parts of the world to explore a wide range of animation techniques. Shelley Page, animation veteran and International Talent Scout, will introduce the N.E.W.S. Talks.

On location in Stuttgart: Georgina Hayns on puppet making for PINOCCHIO and other films Jeffrey Okun shares VFX insights

How can animation and visual effects be practically realised? Ian Failes (befores & afters) curates and moderates two THEN & NOW sessions on ground-breaking innovations in traditional film-making professions. Georgina Hayns, whose filmography includes Guillermo del Toro’s Oscar-nominated PINOCCHIO and several LAIKA films, will talk about her work as a puppet manufacturing supervisor. She will explain how puppets for stop-motion animation films are designed, built and operated using both traditional mechanical puppet mechanisms and 3D printing. Visual effects can also be created hands-on: Visual Effects Supervisor Jeffrey Okun (THE LAST STARFIGHTER, STARGATE or THE LAST SAMURAI) sits down with Ian Failes and Hugo Guerra from Hugo’s Desk for a special LIVE session of their VFX Notes podcast. Together they discuss the joys and sorrows of implementing VFX.

On location in Stuttgart: Matt Kavanagh & Natacha Pianeti from Untold Studios: VFX for the Netflix hit SANDMAN

VFX Lead Matt Kavanagh and VFX Artist Natacha Pianeti (both Untold Studios) take the audience on a sightseeing tour through the making of some of the most memorable sequences from the Netflix hit SANDMAN. Untold Studios worked on over 360 shots, utilising an incredibly wide range of VFX techniques. From the all-consuming hell portal scene to the transformation of Stephen Fry into a meadow to hundreds of photorealistic, painterly CGI cats in the Annie-nominated bonus episode “A Dream of a Thousand Cats”, Kavanagh and Pianeti will share a behind-the-scenes look at the tools and techniques used to bring the series to life. They will also talk about the creative process, challenges and experiences.

Forum News

Numerous companies have now confirmed further workshops and Marketplace participations – and the same applies to the education sector: the School Campus is now fully booked. Forum partners and universities that have not yet been announced can be found here:

Recruiting Hub

Animal Logic, Axis Studios, Blue Zoo Animation, Cinesite, El Ranchito, Electric Theatre Collective, Flying Bark, Framestore, Industrial Light & Magic (ILM), Recom, RISE FX, Rising Sun Pictures, Skydance Animation, Studio Isar Animation, Trixter

Marketplace

Anchorpoint, ASUS, CG Wire, Escape Technology, Graswald, Lenovo, Move AI, Movella, Optitrack, Qualisys, RnDeep, The Captury, Vicon, Zeiss.

Workshops

El Ranchito, Esri, Foundry, Maxon, Prism Pipeline, SAE Institute, Vicon.

School Campus: Breda University of Applied Sciences, Escape Studios, Hochschule Darmstadt University of Applied Sciences, Hochschule Mainz – University of Applied Sciences, Hochschule Offenburg, ifs internationale filmschule köln, Mediadesign Hochschule, MOME Anim | Moholy-Nagy University of Art and Design Budapest, Salzburg University of Applied Sciences, Savannah College of Art and Design (SCAD), University of Applied Sciences Upper Austria – School of Informatics, Communications and Media.

Three new Silver Partners: Foundry, Maxon and ASUS

Three leading companies are now also Silver Partners of FMX: Foundry: Foundry offers various software solutions for the media and entertainment industry in the field of visual effects and animation. Maxon: Maxon develops software solutions for creative professionals in the fields of 2D and 3D design, motion graphics, VFX and visualisation. ASUS: ProArt by ASUS offers laptops, desktops, displays, projectors, mainboards and accessories tailored to artistic needs.

30.

International Festival of Animated Film Stuttgart (ITFS)Under the motto “Animation connects!”, the FMX partner event ITFS invites you to Stuttgart from 25 to 30 April 2023 to celebrate the 30th edition together. The focus will be on the latest competition films as well as gems from the past with various best-of programmes. With themes such as “Artificial Intelligence”, the festival will also look to the future. South Africa will also be a country focus. Industry accreditation is still available at a discounted early bird rate until 15 March.

Further information can be found here: https://www.itfs.de.

FMX is funded by the Ministry of Science, Research and the Arts Baden-Württemberg and the Ministry of Economic Affairs, Labour and Tourism Baden-Württemberg, MFG Filmförderung Baden-Württemberg and the City of Stuttgart and takes place in cooperation with ACM Siggraph. FMX is organised by the Filmakademie Baden-Württemberg and hosts the Animation Production Days (APD) together with the Stuttgart International Festival of Animated Film (ITFS).

Further information can be found at: www.fmx.de

The post The Sandman, Early Bird FMX Tickets und mehr first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

In nuce: Visual effects service provider Framestore has released an almost two-minute VFX breakdown for the Netflix mini-series Kaleidoscope – in which bees buzz around, a pump gun is loaded and a fire is started.

In toto: In Kaleidoscope, a gang of thieves put their heads together to pull off a 7-billion-dollar heist. The heist series tells the story of the preparation, execution and aftermath of the large-scale robbery. What is special about the way the series is presented and narrated is that the eight episodes of the first season do not follow a set order. The individual episodes are not numbered, but colour-coded. Author and screenwriter Eric Garcia, whose novels were the basis for the black comedy Matchstick Men (by director Ridley Scott) and the science fiction thriller Repo Men (by director Miguel Sapochnik), is primarily responsible for developing the material. Other series content on Netflix, such as the film Bandersnatch from the Black Mirror series, also uses interactive storytelling.

Clicked further: In the past, Digital Production has repeatedly reported on the creative work of Framestore’s VFX artists – for example, as part of a technical discussion with Framestore’s then Senior VFX Producer about the sci-fi film Edge of Tomorrow.

• 16.02.2022: Framestore kills Tom Cruise: We look to London – and to the effects of the sci-fi gem Edge of Tomorrow, in which Tom Cruise dies a thousand deaths.
• 28.05.2021: Design Studio Reel: With the silver arrow among the design portfolios to the pole position.

Framestore’s ‘Kaleidoscope’ show and tell breakdown reel

The post Kaleidoscope | VFX Breakdown first appeared on DIGITAL PRODUCTION and was written by Patrick Poti.

In nuce: The Norwegian VFX service Gimpville has released an approximately two-and-a-half-minute VFX breakdown, during which you can marvel at the visual effects for the Netflix film Troll.

In toto: Troll is a Norwegian monster film by director Roar Uthaug (Tomb Raider, The Wave), which was released on the streaming service provider Netflix on 1 December 2022. According to the encyclopaedia of international film, Troll combines “familiar monster film patterns with Nordic mythology”, is “visually carefully realised” and is “solidly entertaining”. The editors are not aware of any links to the cult film Troll 2 (by schlock grandmaster Claudio Fragasso) (see the video on the YouTube channel Cinemassacre).

Click further: We pull out more monsters, Kaijus and other Frankenstein monsters from behind the VFX breakdowns below.

• 8.06.2021: Monster Hunter: Are those still Ankylosaurs – or Koopa Troopas already? No, they’re the Apceros from the video game adaptation!
• 16.09.2021: Godzilla vs. Kong: VFX in the eye of the (monstrous) beholder: Kaijus bang at striking distance!
• 25.10.2022: Prey: Who will win the Predator-Alien vs Comanche-Indian duel? MPC provides the visual effects for the fifth Predator film.

Troll – Gimpville VFX Breakdown 2022

Source: en.wikipedia.org ( entry for Troll (2022))

The post Troll | VFX Breakdown first appeared on DIGITAL PRODUCTION and was written by Patrick Poti.

In nuce: French visual effects service provider The Yard VFX has released a VFX breakdown of the action thriller The Gray Man. By the way, it starts in Vienna at minute 2:25.

In toto: The actioner The Gray Man has been released on the Netflix streaming platform and was directed by Anthony and Joe Russo (The First Avenger: Civil War, Avengers: Infinity War, Avengers: Endgame). The film stars Hollywood greats Ryan Gosling & Chris Evans and Ana de Armas (Knives Out, Blade Runner 2049, No Time to Die, among others). At the centre of the film is a CIA agent who uncovers a secret – which triggers a worldwide hunt by bounty hunters. The Yard VFX’s portfolio includes not only French productions, but above all many well-known international productions – including: John Wick 4, Wanda Vision, Enola Holmes 2, Ford v. Ferrari, or the upcoming fifth instalment of the whip-wielding and rattling hat series Indiana Jones (and the Dial of Destiny).

Clicked further: On 20 April 2017 , Digital Production last reported on The Yard VFX – at the time via a eye-pleasing showreel from the France-based VFX house.

The Gray Man | VFX Showreel

The post The Gray Man | VFX Breakdown first appeared on DIGITAL PRODUCTION and was written by Patrick Poti.

In nuce: VFX service provider MPC has released a new VFX breakdown – this time for the comedy horror streaming series Wednesday. The breakdown is just under three minutes long and is populated with powerful monsters, mermaid doves and gothic horror en masse.

In toto: At the centre of the Netflix series is the titular Wednesday Addams (played by Jenna Ortega); the baby of the most famous horror family in film and series history: the Adams family. The executive producer of the series is director Tim Burton (Sleepy Hollow, Sweeney Todd, Edward Scissorhands, among others), who also directed the first four of the eight episodes. In Die Zeit, journalist Lars Weisbrod aptly describes Tim Burton as “the most cheerful horror artist in the USA”, as “a man who knows that scary fun also involves wetting your pants a little in fear”. Susan Vahabzadeh writes about protagonist Wednesday Addams for the Süddeutsche Zeitung: “She loves black, is always in a bad mood and has a morbid streak, which makes her fit into the Burton universe, which is favoured by outsiders”; Vahabzadeh goes on to describe the series as a “mix of Harry Potter, superhero fantasy and crime thriller”.

Clicked further: In the past, Digital Production has repeatedly reported on the creative work of VFX house MPC – below are some examples of this.

• 28.04.2021: Environment Reel: Pikachu and Co. in the cities? Or: How to populate a pedestrian zone?
• 19.10.2021: (Sonic is) walking on Sunshine: Visual effects with radiance (and with Sega’s flagship spiky animal)!
• 30.08.2022: In a land before our time: Ruler lizards, lordly Vikings and marvellously around the world in 80 days – a showcase of current visual effects.
• 13.10.2022: Dragons, flying saucers, Elvis’ hip swing – and other things that whirl through the air. The VFX service provider’s latest showreel features Monster Hunter, Jordan Peele horror, the King of Rock ‘n’ Roll – and more.

Sources: zeit.de ( review by Lars Weisbrod), sueddeutsche.de ( review by Susan Vahabzadeh), de.wikipedia.org ( entry on the Netflix series Wednesday)

MPC – Wednesday VFX Breakdown

The post Wednesday | VFX Breakdown first appeared on DIGITAL PRODUCTION and was written by Patrick Poti.

In nuce: Visual effects service provider Rodeo FX has released a new video from its “Breaking Down The Breakdown” series, in which visual effects heads are asked to chat about their involvement in current productions – this time about The Sandman. The almost four-minute video is the second instalment about the series adaptation of the popular comic book by cult author Neil Gaiman(watch the first video).

In toto: In the video, VFX producer Clement Zveguintzoff (West Side Story, Godard Mon Amour) and animation supervisor Bernd Angerer (Blade Runner 2049, Loki, Lovecraft Country) talk about Gregory, a baby gargoyle who already played an important role in the comic book and who demanded a great deal of skill from the VFX artists at Rodeo FX due to the need to credibly portray a wide range of emotions. Josée Chapdelaine and her team (from the creature effects department) were responsible for creating a realistic-looking muscle simulation for Gregory.

Click further: Digital Production has reported on several occasions in the past – about the interesting insights into the creative process provided by the video series Breaking Down The Breakdown, as well as the visual effects for the series adaptation of The Sandman. The graphic novel is over 2,000 pages long; at the centre of the story is the eponymous Sandman, who is held captive by a British occultist for centuries – and is ultimately freed and sets about rebuilding his dream realm.

• 4.10.2022: Sandman: slimy and gruesome visual effects for the Netflix series
• 11.10.2022: Bloody, gory VFXs for the Netflix series The Sandman
• 18.10.2022: Rodeo FX explains the visual effects for the Halo series. VFX Supervisor Patrick David and VFX Producer Nancy Heller chat about alien concept design.
• 24.11.2022: Rodeo FX blows up the Madrigal Tower! VFX Supervisor Patrick David and VFX Producer Nancy Heller make the Madrigal Tower from the Halo series explode.

Breaking Down The Breakdown – The Sandman – Episode 2

The post Rodeo FX rocks the baby gargoyle! first appeared on DIGITAL PRODUCTION and was written by Patrick Poti.

In nuce: Polish VFX service provider Platige Image ( Platige for short) will also be involved in the third season of the Netflix series The Witcher. This is according to a recent report published on wirtualnemedia.pl. Platige Image was already involved in the first and second seasons of The Witcher.

In toto: The report also states that Platige will work on the episodes of season three in chronological order – starting with the first and concluding with the last episode of the new series season. Platige is expected to have successfully completed his visual effects for The Witcher Season 3 by the end of the first quarter of 2023. The scripts for the third season have already been finalised and filming is scheduled to start in spring 2023. The Witcher Season 3 is expected to premiere on the Netflix streaming portal in summer 2023.

Clicked on & clicked away: In DP 03 : 2020, we talked shop with Platige Image about the first season and one of the associated video games (“The Witcher by Platige”, page 78, an article we also made available to our readers free of charge on 29 September 2021 ). And just recently, in DP 05 : 2022, we had the opportunity to talk to Brad Blackbourn, Virtual Production Manager at The Third Floor, about augmented reality visualisation during the second season (“The Witcher: Adventures in AR” on page 71); see also the free sample copy of our e-paper issue. Finally, in our next issue, DP 01 : 2023, we had the chance to talk shop with the artists from Platige Image – this time about the second season of the series! Look forward to the insightful conversation in our upcoming new issue!

Source: News on wirtualnemedia.pl

The post Platige Image provides the visual effects for The Witcher season 3! first appeared on DIGITAL PRODUCTION and was written by Patrick Poti.

Mateusz Tokarz, Lead VFX Supervisor at Platige Image, sheds some light on Platige Image’s self-set demand: “We wanted the effects to have a cinematic quality.” Overall, Platige issued around 170 visual effects shots for the second season. The­ ­following is a deep dive with art director Michał Niewiara and VFX supervisor Mateusz Tokarz.

Someone in the editorial team of Digital Production has a nag for The Witcher: In DP 03:20, Bela enjoyed a conversation with Platige Image about the The Witcher Season one and the cinematics for the video game of the same IP (“The Witcher by Platige”, page 78). Only two issues before this one, in DP 05:22, Patrick, a Witcher-newbie, had an insightful conversation with Brad Blackbourn, Virtual Production Manager at The Third Floor, about how AR visualization helped during the production of Season two (“The Witcher: Adventures in AR” on page 71); and now, it’s time to converse with Platige Image about visual trickery inside the Andrzej Sapkowski universe.

DP: Michal, could you please explain to us how you created the unique openings for each episode, together with production designer Andrew Laws?
Michal Niewiara: While working on the first season, I got a sketch of the logo from Andrew. I developed my design based on his idea. The biggest contribution to the creation, however, came from producer Lauren Schmidt Hissrich. We owe its final shape to her. At the end of the first season, Steve Gaub joined the producers’ team, and from then on, we developed the intros and symbols together.

I must add that the graphic work was not the only thing I did in the movie. Having acted as a lore consultant much earlier than the others, I already had an insight into what would be on the screen, and that gave me some time to think about how to illustrate the episodes. I would choose something that I felt was the most essential element of a particular episode – it could be an event, a character or a theme – and after the initial selection, we would choose one of them and start working on the design.

As a curiosity, I might add that sometimes a symbol was ready by the first attempt. But sometimes the episode changed character so much of the course of the editing, that it had to be created anew. I learned from this experience. During the second season, I always tried to set time aside to sculpt each symbol in ZBrush, so that it would suit the atmosphere of the series. The models prepared in this way were then passed on to the lighting and shader artists, and the animation and FX. Creating even the seemingly tiniest elements of a film is a time-consuming and complicated process.

DP: Could you explain your role as the “The Witcher professor” within the Platige crew?
Michal Niewiara: I owe the nickname “professor” to my expertise in Andrzej Sapkowski’s novels. I’ve been a loyal fan of his Witcher saga since I was a kid, and can boast quite a wide knowledge on the subject. As a result, I supported the screenwriters and artists on more than one occasion in understanding a particular plot point better or to help with the creation of the characters and creatures.

DP: How did you ensure the scripts were consistent with the source material by Andrzej Sapkowski?
Michal Niewiara: A movie adaptation is a completely different thing to a book, which is treated as a set of building blocks which, when taken apart and then reassembled, can create a new quality. Sometimes new elements are added. Good examples of this are the expansion of Stregobor’s role (in the books, he appeared in only one story) or the link between Voleth Meir and the Wild Hunt. I also had a hand in creating things that didn’t affect the storyline itself, but were still important, such as the creation of the currencies that occur in the various kingdoms.

DP: The descriptions in the books were the main source of inspiration for many effects in season two, right?
Michal Niewiara: Yes. Sapkowski is known for limiting the descriptions and pushing the plot forward quickly. I think it’s more about feeling the sense of the scene and its dynamics. However, whenever it was necessary, it was down to me to point out where we could find even the briefest description of a particular spell, scene, or situation in the books.

DP: Could you give us a glimpse into what the abandoned movie project for The Witcher was like, before Netflix showed up and handed everything over to the talented production designer Andrew Laws and his team?
Michal Niewiara: It was totally different. It really couldn’t have been more different, as it had a completely different team working on it. They had their own vision and ideas about how to transfer the book to the screen. To use the comparison to building blocks – the same type and number of blocks can give many different combinations.

DP: Michal, how does it feel to have co-designed the medallion worn in the series by Henry Cavill?
Michal Niewiara: Great! I’m really happy about it because, thanks to Netflix, I was able to cross off a few things that I wanted to do in my life. And the medallion was one of them. I am excited to have had the opportunity to work on this project and co-create something that has always shaped – and is still shaping – my imagination.

DP: Mateusz, at what point in the process did you start working on The Witcher season two?
Mateusz Tokarz: When we finished work on the first season, we heard a mysterious “See you later” from Netflix. So we assumed that we would be working on the second season. That’s precisely what happened. We started quite early, even before shooting began. We had to prepare some effects using fire, and although it wasn’t a big thing, this helped us to guess what kind of shots to expect.

DP: When did you start speaking with showrunner Lauren Schmidt Hissrich?
Mateusz Tokarz: We didn’t consult Lauren so frequently during the work on the second season, mainly due to the fact that we already had a lot of experience and knew very well what she liked, and also what we should avoid. An interesting point is the fact that our team had only changed slightly, and the core team had remained the same. The production supervisor Dadi Einarsson was particularly important as he was a great liaison between Lauren and all the vendors.

DP: You said it was agreed early on for season two that you wanted to create visual effects inspired by physical phenomena – lightning discharges, clouds or the appearance of galaxies. What led to that decision?
Mateusz Tokarz: It wasn’t actually our decision – Lauren gave us that recommendation at the very beginning of our adventure, even before we started working on the episodes of the first season, and it suited us. Our studio uses a variety of techniques and technologies, and we also place an emphasis on creativity.

That’s why we were so keen to get involved in something completely new – it was a mind-boggling task that allowed us to spread our wings. We started with variants that were very elaborate and complex, strongly inspired by physical phenomena, and then we simplified them, adapting them according to Lauren’s preferences.

DP: What were some of the things you took over from season one, and what were some of the things you had to revise completely?
Mateusz Tokarz: Actually, everything we created for the first season could also be used in the second. Sometimes our effects evolved, but it was never the case that what we had developed in the first eight episodes of the saga ended up in the bin and we had to start from scratch for the next series.

The first season also allowed us to de­velop a number of tools to facilitate our collaboration with Netflix. Our pipeline department prepared various tools with very common applications, such as different types of automations responsible for re­ceiving and sending materials, tech checks, or preparing sources in various departments. These tools were developed while we were working on the first season, and then rewritten and cleaned up before we started the next chapter of our work on the VFX for the Netflix saga.

In addition, a myriad of tools was also developed to streamline the work of individual teams, and these are still used today, not only in CG projects but also in cinematics and advertising.

DP: How many people did you have in your team for season two, and who was responsible for what?
Mateusz Tokarz: The core of the production team was made up of four people, consisting of Krzysiek Krok (producer), Maciek Jackiewicz (art director), Magda Rudnicka (production assistant), and me, as super­visor.
The artists in Platige’s animation and VFX departments form functional teams, so, for example, we have modelling, rigging, set dressing, look-dev, and compositing teams. Each of these teams has its own lead, producer and coordinator. The first season was made just after the restructuring implemented by Krzysiek Krok and myself. Many things were still being finalized at that stage.

In the second season, everything ran smoothly. Not only did we get everything done on time, as before, but we often created shots before their deadlines. That wouldn’t have been possible without the wonderful work of our artists and their incredible commitment. And I don’t mean that it involved a huge amount of overtime, because that’s something we avoid like hell! (laughs)

DP: In our interview for DP 03:22 about the first season, Mateusz told us how Platige Image was mostly responsible for the magic effects (e.g., portals, spells, signs) and environments.
Mateusz Tokarz: For the effects that had been developed earlier, we relied on the existing set-ups. But of course, they had to be adapted to the new conditions – in the first season, the magic was much more peaceful, while in the second season it strongly supported the battles.

DP: Could you walk us through your pipeline for season 2?
Mateusz Tokarz: From a labor-management standpoint, little changed with the second season from how we ended season one. Over the course of season one, our methods were still evolving, but in season two, we could work pretty systematically from start to finish, in line with our preconceived notions.

The only change was the elimination of the dailies with all the artists. In the first season, we used to do that, but when we worked on many shots simultaneously, these sessions would often take over two hours. Not everyone was able to attend those online meetings and work at the same time, so in the second season, we reduced them and divided them into sections (e.g., models, rigs, and asset shading together, rendering and compositing together, etc.). The artists would then join the talks only when they were really needed.

DP: How did Platige Image collect the references from nature to create the realistic-looking effects like fire, water, tornados, atmospheric discharges, or mirages?
Mateusz Tokarz: Just like everyone else – we googled them! Sometimes, of course, we also record references on our own. But nowadays, you can find almost anything on the web. Why not take advantage of that?

DP: How did you develop The Witcher’s magic portals – and why were satellite images inspirational for them?
Mateusz Tokarz: When creating the portals, we were inspired by how galaxies look, and how the stars and colours are arranged. There is a characteristic way of arranging matter which we reproduced on a much smaller ­scale. When we observe galaxies, however, we don’t see any movement and our portals had to live, so we had to develop the concept further and explore the transition effect in various ways, until we finally arrived at the end result seen on screen.

DP: We understand that you’re particularly proud of two stand-out sequences – the fire effects in episode six (“Dear Friend”) and the disintegration scene from episode eight (“Family”)?
Mateusz Tokarz: Technically, those two sequences required a lot of work. To get the final result, it was necessary to synchronize the activities of many teams. Ultimately, what we create must have technical compatibility, but it must also work visually. In the case of those two sequences, this succeeded brilliantly.

DP: You highlighted the fire effects during Rience’s fights in episode six as being the centrepiece of the effects Platige Image created for season two. What makes those fire effects so outstanding?
Mateusz Tokarz: It’s true that there were many shots of Rience’s battles and his fire magic had a very strong effect on everything we see in the frame. Fire is a strong source of light, and its light that draws the picture. In many cases, we literally had to sketch light directions on the characters and set pieces so that, for example, a flaming fireball hurling at Geralt would give a realistic impression of crashing into a wall.

DP: In the final episode (episode eight – “Family”), Ciri sees several characters disintegrating. How was that effect created?
Mateusz Tokarz: For that sequence, as for most of our FX, we used Houdini. And it was our FX lead, Lukasz Sobisz, who was responsible for its execution. But although the sequence was based on a simulation, its success was not only down to him.

All the characters, based on photos, scans and footage from the shoot, were recreated in 3D, posed and animated to match what the ­camera captured. Then the body parts of the real actors – which were meant to di­sintegrate – were removed from the frame and replaced with their digital counterparts. After all, we could subject these digital characters to all sorts of simulations. As the body disintegrated in layers, it would crumble and generate ash and dust that floated and settled – and that was a source of huge fun for our simulation specs.

DP: At the beginning of episode six, when The Witcher and Ciri are battling the Chernobog, our (anti)hero changes in appearance after drinking a magic potion. What can you tell us about that effect?
Mateusz Tokarz: In the second season, we were also responsible for the effects of transformations after magic potions had been consumed. This is one such shot where, after the potion has been drunk, the skin turns corpse-like pale, dark veins appear, and the eyes turn completely black. In a technical sense, depending on the shot, this requires very accurate tracking of the face. This is done to redesign the material received from the camera into a 3D model so that the necessary modifications can be made.

DP: Which one was your favourite shot to work on for season two, Mateusz?
Mateusz Tokarz: In Poland, we have a saying that a good father loves all his children equally. I can’t – and won’t even try – to pick a favourite one. There are a lot of shots that I really like, and which give me satisfaction and even pride. I’m very happy that while working on The Witcher we were able to use the experience we had gained from previous projects. I’m not just talking about our work on the first season, but also feature films, 3D animation and commercials.

As a studio, we have more than 25 years of experience, and we know how to deliver everything on time and with top quality. I am also extremely pleased that our work was recognized by the Emmy committee with a nomination for Best Special Effects.

The Abandoned “The Witcher” project

Prior to Director of International Originals at Netflix, Kelly Luegenbiehl (now Vice President Global Franchises at Netflix) and her team stepping in, a group of producers were working on a standalone film of The Witcher. Finally, a number of conversations lead to the decision to drop the standalone film and opt for a longer-running series instead (see the news item titled “The Netflix Literary Connection” at Publishers Weekly by Jason Boog: is.gd/NetflixLiteraryConnection). For an insightful conversation with Kelly Luegenbiehl, watch this quarter-hour talk from the Frankfurt Book Fair: is.gd/KellyLuegenbiehl)

The post The Wild Wild Witcher first appeared on DIGITAL PRODUCTION and was written by Patrick Poti.

In nuce: Visual effects service provider One of Us VFX has released a VFX breakdown for the Netflix series Sandman (original title: The Sandman). The series is based on the graphic novel of the same name by Neil Gaiman, which spans over 2,000 pages and has been available on Netflix since 5 August this year. At the centre of the series is the eponymous Sandman, the personification of the dream, who has been held captive for centuries by a British occultist – now freed, he sets out to collect his insignia, consisting of sand, helmet and ruby, and rebuild his dream realm.

In toto: The VFX house One of Us contributed 240 VFX shots to the series. As can be seen from the video description, almost 100 artists gathered around VFX supervisor James Brennan-Craddock (Assassin’s Creed, Jupiter Ascending, Fast & Furious: Hobbs & Shaw), VFX producer Catherine Martin (Ghost in the Shell, 1917, Alien: Covenant) and 2D supervisor Nathan Remy (Knives Out, Passengers, Jurassic World: Fallen Kingdom).

Clicked further: On 11 May 2020 , Digital Production last reported on the creative work of One of Us – at that time it was the first season of the hit series The Witcher, which sent fantasy warrior Geralt von Riva across our screens at home.

The Sandman VFX Showreel | One of Us

The post Sandman | VFX Breakdown first appeared on DIGITAL PRODUCTION and was written by Patrick Poti.

In nuce: MPC has released a VFX breakdown for the live-action film series of the Resident Evil franchise. The first season of the Netflix series comprises eight three-quarter-hour episodes, with MPC contributing 210 VFX shots, from – as the video description for the VFX breakdown says – simple muzzle flashes to complex CG environments. The lead creative mind behind the Netflix series is screenwriter Andrew Dabb, who is best known to series fans as co-author of the fantasy series Supernatural. The response to the first live-action film series set in the Resident Evil universe has so far been rather muted.

Other highlights: Digital Production has repeatedly reported on the work of MPC’s VFX artists in the past. Below are some of the recent VFX breakdowns.

• 28.04.2021: Pikachu and co. in the cities? Or: How to populate a pedestrian zone? Environment reel from MPC Film.
• 19.10.2021: Showreel by MPC Film: (Sonic is) walking on Sunshine: Visual effects with radiance (and with Sega’s flagship spiky animal)!
• 30.08.2022: In a land before our time: Ruler lizards, lordly Vikings and marvellously around the world in 80 days – a showcase of current visual effects by MPC Episodic.

MPC – Resident Evil VFX Breakdown

The post Resident Evil | VFX-Breakdown first appeared on DIGITAL PRODUCTION and was written by Patrick Poti.

In nuce: As the industry magazine Variety reports , streaming giant Netflix is taking over the Australian animation studio Animal Logic, with its approximately 800 employees. In a quarterly report, Netflix informed its shareholders that the acquisition of Animal Logic would accelerate the development of animated films.

What’s next for Animal Logic? According to Netflix, Animal Logic will continue to operate under the Animal Logic name regardless of the acquisition, with existing productions continuing to run – the same applies to long-standing partnerships with studios that Animal Logic maintains. The purchase price of the deal is not yet known. The takeover is expected to be finalised this year.

Animal Logic – an outline: Founded in 1991, the Animal Logic animation studio has many well-known animated films in its portfolio – including, for example: The Peter Rabbit and Lego films (Lego Movie 2, Lego Ninjago Movie, Lego Batman Movie), The Legends of the Guardians by Zack Snyder or Happy Feed by co-director George Miller.

Animated feature films on Netflix – what has been produced so far? Animated feature films currently in production at Netflix include The Magician’s Elephant by director Wendy Rogers (VFX artist on productions such as Flutsch und weg, Spirit – Der wilde Mustang, or Shrek – Der tollkühne Held) and The Shrinking of Treehorn by director Ron Howard. Animated feature films recently released by Netflix include The Sea Monster by Chris Williams (including Vaiana, Baymax), The Colourful Side of the Moon by Glen Keane and John Kahrs and the Christmas film Klaus by Sergio Pablos and Carlos Martínez López.

Netflix in cooperation with VFXen: Netflix only extended its contract with DNEG in May. Netflix plans to invest at least 350 million dollars in DNEG by 2025.

Click to continue: The complete report by journalist Todd Spangler on variety.com. We last reported on the Australians at Animal Logic on 18 April 2022 – at that time, Recruitment Supervisor Jimmy Ockey spoke to Technical Director Alexander Richter about how interested parties should imagine the application process at Animal Logic.

The post Netflix buys Animal Logic first appeared on DIGITAL PRODUCTION and was written by Patrick Poti.

In nuce: In this featurette worth watching, fans of the Netflix series Love, Death Robots learn how the short film Bad Travelling was made – with the help of director and executive producer David Fincher (Seven, The Social Network, Fight Club, etc.), series creator Tim Miller (Deadpool, Terminator: Dark Fate) and supervising director Jennifer Yuh Nelson (Kung Fu Panda 2 & 3).

What can viewers expect from Bad Travelling? Bad Travelling is a 19-minute short film in which the crew of a ship have to deal with a voracious crab. At 19 minutes, Bad Travelling is the longest short film in the Love, Death Robots series to date. In the featurette, the three creative minds Fincher, Miller and Nelson have their say and talk about their work on the short film. Bad Travelling is the second episode of the third season of the Netflix series, in which a ship’s crew enters into a pact with a monster from the deep sea.

More making-ofs for Love, Death Robots: Fans of the series are offered further behind-the-scenes insights into the successful series in the following featurettes.

• 25.04.2019: Love, Death & Robots | Animation Breakdowns: Storyboards, Previs, Modelling, Motion Capture, Animation and Final Rendering: In the series Inside the Animation you will get an insight into the realisation of the new Netflix series!
• 14. 05.2019: Love, Death Robots | Lucky 13: Sony Pictures Imageworks’ breakdown of the Netflix series Love Death Robots: This time on Lucky 13!

Love, Death Robots | Inside the Animation: Bad Travelling | Netflix

The post Netflix releases featurette on Love, Death Robots first appeared on DIGITAL PRODUCTION and was written by Patrick Poti.

In nuce: This VFX reel shows what the girls and boys from FuseFX have pulled out of the pipeline for the second season of “Raising Dion”. By the way: If you’re a fan of ghosts, demons and other occult phenomena, you should add the Netflix series “Raising Dion” to your must-watch list. Great corpus Satani, right?

More VFX reels (and breakdowns) from FuseFX: If you want to see for yourself what FuseFX can do in terms of visual effects, we recommend clicking through one (or all) of the videos below:

• 9-1-1: Emergency Call L.A. – Wildfire in the viewport: FuseFX has made you a little fire!
• Debris – Reconstruct the alien spaceship! CIA and Mi6 agents help you.
• Amazon’s Utopia – The aluminium hats go into series production: conspiracy theories, nerd culture and John Cusack
• Ratched – Lobotomy, electroshock therapy and amputation by FuseFX
• Know This Much is True – FuseFX Studios’ visual effects breakdown focuses on invisible special effects

Click on: Watch (and click) the VFX reel for the second season of “Raising Dion” in full length below. We wish you ghostly series enjoyment!

Raising Dion — VFX Reel

The post Creepy VFXs for the streaming series “Raising Dion”! first appeared on DIGITAL PRODUCTION and was written by Patrick Poti.

In nuce: The Behind-the-FX video for the latest film by Jean-Pierre Jeunet, the director of such squeaky-clean film gems as “The Fabulous World of Amelie”, “Delicatessen” and “Alien: Resurrection”, recently premiered with his latest prank, the Netflix film “BigBug”.

What is BigBug about? The comedic science fiction film tells the story of a group of quarrelsome suburbanites who must band together to quell the uprising of their household robots. The house robots have locked their human owners inside to protect them from warlike robots. This turns their own home into a panic room for the residents.

What’s behind the special effects in BigBug: Director Jean-Pierre Jeunet’s declared aim was to use real robots for his film, although special effects supervisor Pascal Molina and his team naturally went over the top again with visual effects from the computer. The special feature: to create the facial expressions of the robot Einstein, for example, the VFX team used facial recognition software. Thanks to this, an actor’s facial expressions were recorded and transferred live to the robot’s head.

Click on: But enough anticipation. If you want to find out what robot designer Jean-Christophe Spadaccini, production designer Aline Bonetto, visual effects director Alain Carsoux and VFX supervisor Jeremie Leroux have to say about the design of the cinematic grab bag “BigBug”, simply click on the behind-the-FX video below.

Behind the FX of BigBug’s Futuristic Robots | Netflix

The post BigBug | VFX Breakdown first appeared on DIGITAL PRODUCTION and was written by Patrick Poti.

In nuce: In this VFX breakdown by Scanline for the Netflix series Kitz, set extensions are placed in the alpine landscape, (un)sharpening is pulled over VFXs, hut parties are celebrated, a mountainous panorama is looked at and a load of fresh snow swirls against the camera lens. We also watch a vehicle cliff jumping and a mountain hut going up in flames and – last but not least – we watch a naked egg, rolled up tightly in an aerial dress, indulging in free body culture.

What is the “Kitz” series about? “Kitz” tells the story of 19-year-old Lisi Madlmeyer (played by Sofie Eifertinger), who joins a group of teenage friends who nest in a mountain hut every ski season to party in luxury (until the mountain doctor pumps out their stomachs). The series is set in Kitzbühl, from which the series title “Kitz” is derived. According to a report from the Swiss news portal Watson on 18 January 2022, “Kitz” has made it into Netflix’s top 10. The only drawback for many Austrians, in whose home country the series is set: The actors speak like the last of the Piefkes (read: they speak High German).

Netflix buys Scanline: The fact that VFX service provider Scanline is contributing to Netflix series is less surprising, by the way. On 23 November 2021 , we reported on how the streaming giant Netflix had acquired the German VFX studio Scanline. Recent Netflix productions in which Scanline was also involved include the live-action adaptation of the cult series “Cowboy Bepop” and the action horror film “Blood Red Sky” by German director Peter Thorwarth. Scanline has offices worldwide, namely in Vancouver, Montreal, Los Angeles, London, Munich, Stuttgart and Seoul.

Click further: If you want to shake up your inner Anton from Tirol by means of après-ski, we recommend clicking on the VFX breakdown below.

Kitz | VFX Breakdown Reel | Scanline VFX

The post Kitz | VFX Breakdown first appeared on DIGITAL PRODUCTION and was written by Patrick Poti.