All Post-Production Uncovered articles
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NewsPost uncovered: Bluebolt on Jack Ryan: Ghost War (Prime Video)
VFX house produced 365 shots for latest entry in thriller series
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NewsPost uncovered: Untold Studios on Remarkably Bright Creatures (Netflix)
VFX house created a fully-CG octopus for the mystery drama
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NewsProduction & Post Uncovered: Dimension on Mercy (feature)
Dimension reveals the work that went into motion graphics and virtual production, which played a key part in the Chris Pratt film
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NewsPost uncovered: Time Based Arts on Mint (BBC1)
Director Charlotte Regan, DP Christopher Sabogal and colourist Simone Grattarola explain how they created a distinctive visual style for BBC’s crime-drama
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NewsPost uncovered: Margo’s Got Money Troubles - title sequence (Apple TV)
The creative team at Peter Anderson Studio explain how they built the intricate ‘Assault Course of Life’ sequence
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NewsPost uncovered: Dock10 on Waterloo Road, series 17 (BBC)
The MediaCity facility has posted the BBC drama since its 2022 return, creating tailored workflows including on-set connectivity and remote recording capabilities
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NewsPost uncovered: Vine FX on After the Flood, Season 2 (ITV)
Vine FX delivered a full suite of effects across 336 shots and 94 sequences spanning all six episodes
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NewsPost uncovered: Milk VFX on Under Salt Marsh
The visual effects house created a series of invisible VFX focused on expansive environments, dramatic weather and significant digital world-building
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NewsPost uncovered - Union VFX on 28 Years Later: The Bone Temple (feature)
Union has returned as sole VFX vendor on 28 Years Later: The Bone Temple, delivering 380 shots for Nia DaCosta’s continuation of the franchise
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NewsPost uncovered: Cinesite and Vine FX on The Witcher, Season 4 (Netflix)
Cinesite reimagined iconic sequences, while Vine FX delivered VFX shots across 18 sequences for Season 4 of the fantasy drama
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NewsPost uncovered: Milk VFX on The Rats: A Witcher Tale (Netflix)
Milk VFX delivered complex creature and visual effects work for The Rats: A Witcher Tale, working closely with Production VFX supervisor Sara Bennett and VFX producer Gin Godden. Milk VFX supervisor Fernando Tortosa and VFX producer Chaya Feiner led the studio’s team of artists to bring the show’s ambitious vision ...
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NewsPost uncovered: Dock10 and Space Digital on Run Away (Netflix)
The MediaCityUK facilities delivered post-production and VFX on the eight-part Netflix thriller produced by Nicola Shindler’s Quay Street Productions
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NewsPost uncovered: Union VFX on Anemone (film)
The VFX house worked on shots including an apocalyptic hailstorm and a photoreal sculptural creature
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NewsPost uncovered: Lux Aeterna on Squid Game: The Challenge, Season 2 (Netflix)
Studio Lambert brought in VFX house Lux Aeterna to maintain the high-end visual standards of the original Korean drama
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NewsPost uncovered: Milk on The Witcher Season 4 (Netflix)
Milk created 46 shots for the series – watch the VFX breakdown below
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NewsPost Uncovered: Doghouse on Empire (BBC2)
Award-winning editor and filmmaker Dilesh Korya goes behind the scenes of BBC2’s Empire with David Olusoga
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NewsPost uncovered: BlueBolt on The Thursday Murder Club (Netflix)
BlueBolt created 250 supporting invisible VFX shots for the murder mystery movie
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NewsVFX Uncovered: BlueBolt on Downton Abbey: The Grand Finale
VFX house produced 138 shots for Julian Fellowes’ cinematic conclusion to TV show
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NewsPost uncovered: Union VFX on Dept Q (Netflix)
Effects included a TV being smashed through a window, landing on a car, a CG roof extension and a series of computer game-style police animatic shots
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NewsVFX Uncovered: Union on 28 Years Later (feature)
VFX studio produced over 900 shots for Danny Boyle and Alex Garland film