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      <image:title>Behind The VFX - The Art of VFX in the Glass Bridge Sequence: - Make it stand out</image:title>
      <image:caption>VFX Takeover hiding the mechanical workings and extending the stunt drop</image:caption>
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      <image:title>Behind The VFX - The Art of VFX in the Glass Bridge Sequence: - Make it stand out</image:title>
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      <image:title>Behind The VFX - The Impact of VFX and Virtual Production on Modern Filmmaking: Techniques, Benefits, and Planning Insights - Make it stand out</image:title>
      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
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      <image:title>Behind The VFX - The Impact of VFX and Virtual Production on Modern Filmmaking: Techniques, Benefits, and Planning Insights - Make it stand out</image:title>
      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
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    <loc>https://www.vfxtools.co.uk/behind-the-vfx/making-a-scene-the-argument-for-previsulation</loc>
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    <lastmod>2024-08-31</lastmod>
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      <image:title>Behind The VFX - Making a Scene: The argument for Previsulation - Previsualization: Crafting the Scene Before Shooting</image:title>
      <image:caption>The initial briefing document provided to our VFX vendor was carefully prepared, ensuring that our first in-person meeting would focus on reviewing the preliminary scene layout in Unreal Engine. The document included:Google Earth Map: Identifying the exact real-world location for the scene. Historical Images: Ensuring an accurate depiction of 1940s Paris. Camera Locations and Movements: An opening crane shot sweeping over Paris. A dynamic shot moving across Louis’s back to reset the 180-degree rule. Close-ups capturing the intense emotions of Claudia and Louis. A wide shot framing the entire statue with Paris in the background. A pullback wide shot revealing hidden vampires observing the city. We considered and tested several additional angles but ultimately focused on those that best supported the narrative. The value of previs lies in its ability to let the creative team experiment with various ideas early on, avoiding the need for costly camera tests or location scouting. After three rounds of revisions, with particular attention to the opening crane shot, we finalized the framing and movement, and the selected shots were rendered for review.</image:caption>
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      <image:title>Behind The VFX - Making a Scene: The argument for Previsulation</image:title>
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      <image:title>Behind The VFX - Making a Scene: The argument for Previsulation</image:title>
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      <image:title>Behind The VFX - Making a Scene: The argument for Previsulation</image:title>
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      <image:title>Behind The VFX - Making a Scene: The argument for Previsulation</image:title>
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      <image:title>Behind The VFX - Making a Scene: The argument for Previsulation</image:title>
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      <image:title>Behind The VFX - Making a Scene: The argument for Previsulation</image:title>
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      <image:title>Behind The VFX - Making a Scene: The argument for Previsulation</image:title>
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      <image:title>Behind The VFX - Making a Scene: The argument for Previsulation</image:title>
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      <image:title>Behind The VFX - Making a Scene: The argument for Previsulation</image:title>
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      <image:title>Behind The VFX - Making a Scene: The argument for Previsulation</image:title>
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      <image:title>Behind The VFX - Making a Scene: The argument for Previsulation</image:title>
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      <image:title>Behind The VFX - Making a Scene: The argument for Previsulation</image:title>
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      <image:title>Behind The VFX - Making a Scene: The argument for Previsulation</image:title>
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      <image:title>Behind The VFX - Making a Scene: The argument for Previsulation</image:title>
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      <image:title>Behind The VFX - Making a Scene: The argument for Previsulation - Make it stand out</image:title>
      <image:caption>Horse statue from art department on Stage 5 at Barrandov studios, Prauge, Czechia</image:caption>
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      <image:title>Behind The VFX - Making a Scene: The argument for Previsulation - Script Excerpt</image:title>
      <image:caption>The opening scene as described in an early draft</image:caption>
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    <lastmod>2024-08-31</lastmod>
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      <image:title>Behind The VFX - Interview With The Vampire Part ii - Make it stand out</image:title>
      <image:caption>A chase through the streets of Paris by the coven - Evoke Studios Prague 2023 / AMC Interview with a Vampire</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/65690ec532de497f5d5df102/1701631200295-A8HFQ4VNL4P6KELVC7P4/Interview_with_the_Vampire_TV_Series-900599676-large.jpg</image:loc>
      <image:title>Behind The VFX - Interview With The Vampire Part ii - Bringing History and Horror to Life: The Visual Effects Behind Season 2 of AMC’s Interview with the Vampire</image:title>
      <image:caption>As AMC’s Interview with the Vampire Part 2 continues to captivate audiences with its gripping portrayal of Louie du Pont Dulac's life, the role of visual effects (VFX) becomes ever more critical in blending the series’ historical setting with its dark, supernatural elements, and bringing to life the modern day interview location. In this second season, our VFX team took on the challenge of delivering over 1,000 shots across the eight episodes, each designed to enhance the storytelling and immerse viewers in Louie’s world and in most instances completely invisible to the audience. The Story Continues: Louie’s Complex Journey Interview with the Vampire part 2 is far more than a typical vampire tale. It’s a richly layered historical drama set in the 1940, and this season we delves deeper into Louie and Claudia’s experiences in a new city - Paris, weaving together the threads of history, horror, and personal turmoil the season is beautifully written and shot so the visual effects have to be just as good. To bring this complex narrative to life, the series demanded VFX that could seamlessly integrate the ordinary with the extraordinary.</image:caption>
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      <image:title>Behind The VFX - Interview With The Vampire Part ii - Make it stand out</image:title>
      <image:caption>LED Testing - Evoke Studios Prague - AMC Interview with the Vampire</image:caption>
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    <lastmod>2025-10-27</lastmod>
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      <image:caption>Involved from early development through to final show delivery, we oversaw the design and deployment of a real-time production pipeline for this unscripted dance competition. The series featured 12 performers competing as digital avatars in front of a live audience, demanding innovative real-time solutions to manage the unpredictability of live television. This image shows one of our digital characters, Jellifer, inside a fully virtual ‘diary room’ environment.</image:caption>
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      <image:caption>VFX Producer - S1 &amp; S2</image:caption>
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      <image:caption>VFX producer S2</image:caption>
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      <image:caption>Provided full VFX production support for both seasons of Squid Game: The Challenge, from pre-production to final delivery. Our VFX tools and supervision bridged the gap between unscripted television and high-end post-production, ensuring the show met Netflix’s directive to “make it look like the drama.” Our team handled set extensions, head replacements, and large-scale clean-up work across more than 300 camera feeds, delivering a cinematic look to this complex reality competition.</image:caption>
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      <image:caption>For Marvel’s She-Hulk, we managed on-set visual effects supervision and coordinated data delivery for post-visualisation vendors. Combining optical volume, inertial, and facial capture systems, we supported one of Marvel’s most ambitious digital character productions. With a fully CG lead across the series, our 12-person on-set team and 10-person post team worked to maintain shooting efficiency, meet tight delivery deadlines, and support the lead actress’s performance in a comfortable, tech-driven environment.</image:caption>
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      <image:caption>Head Of Production - Games Motion Capture</image:caption>
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      <image:caption>Motion Capture - Digital Extras</image:caption>
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      <image:caption>Blue teddy bear with black eyes and nose, sitting on a black surface, with a yellow tape measure around its shoulders, a color calibration chart in front of it, and a color checker palette beneath it.</image:caption>
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      <image:caption>SheHulk - Onset Motion Capture Unit</image:caption>
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      <image:caption>Dance Monsters – Volume Testing To develop and refine the real-time production pipeline for Dance Monsters, we conducted a two-day volume test at the proposed studio site in southern England. The goal was to integrate live motion-capture characters within a traditional multi-camera broadcast environment. Using a mix of techno cranes, pedestal cameras, and real-time tracking, we coordinated data flow between motion capture, camera tracking, and the broadcast gallery. These tests laid the foundation for delivering nine episodes of high-end unscripted television powered by real-time technology.</image:caption>
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      <image:caption>Dance Monsters - Netflix VFX Producer</image:caption>
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      <image:caption>Acting as VFX Producer from pre-production through post, we collaborated with the VFX Supervisor and Showrunner to deliver a high-end television season for AMC’s Interview with the Vampire. Our responsibilities included on-set coordination, vendor management, and post-production oversight. The result was a visually rich season filled with fangs, blood, and a meticulously crafted digital Paris for our vampires to inhabit.</image:caption>
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      <image:caption>Squid Game: The Challenge – Red Light, Green Light For the opening challenge of Squid Game: The Challenge, we transformed the vast blimp hangars of Cardington Studios into a live-action recreation of the drama’s infamous “Red Light, Green Light” arena. Our VFX work extended the practical set, added seamless digital sky replacements, and ensured the scale matched the visual tone of the original series. Over 465 contestants competed in this ambitious recreation, blending real-world spectacle with cinematic precision.</image:caption>
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      <image:caption>Magical Creatures - Onset Capture</image:caption>
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      <image:title>Home</image:title>
      <image:caption>Interview with the Vampire – Paris Bridge Sequence To bring the fantastical world of Interview with the Vampire to life, our team recreated iconic sections of Paris, including the Pont Alexandre III bridge. This image shows our lead cast positioned atop a digitally extended statue overlooking the Seine. Through detailed previsualisation and VFX planning, the complex sequence was successfully captured within a four-hour window, achieving cinematic realism with efficient execution.</image:caption>
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    <image:image>
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      <image:caption>Motion Capture Cinematic Launch Trailer</image:caption>
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      <image:caption>People gathered around a large sculpture of a unicorn in a museum or gallery setting, with some taking photos and others observing.</image:caption>
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      <image:caption>Previs / Movement Development</image:caption>
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      <image:caption>Mixed Reality / XR Projects</image:caption>
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    <lastmod>2025-10-27</lastmod>
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    <lastmod>2024-09-16</lastmod>
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