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Production VFX supervisor Chris Godfrey and producer Brice Parker walk through the sheer scale of Mortal Kombat II, three full realms and more than 1,600 final shots. We're one of the studios that delivered shots for the film, part of the deep VFX roster Godfrey and Parker assembled across its three realms.

Warner Bros. and New Line's sequel brings back Earthrealm's champions across three vast realms, and we're proud to be one of the studios on it, with Lindsay Adams supervising and Caroline Adams producing our work.

Production VFX supervisor James McQuaide breaks down all 987 shots of Amazon's pirate epic and the ten vendors who built it. He gets into the burning house and the stormy opening seas we worked on, and why period action only works when you cannot see the effects at all.

Our breakdown reel for The Bluff, more than 150 shots of work the audience was never meant to notice. We rebuilt the film's titular cliffside from LIDAR and matte painting, burned Bodden House, and filled the seas with boats and digital doubles.

Ausfilm sits down with our founder Lindsay Adams to unpack our work on The Bluff. He talks through burning Bodden House frame by frame, building the bluff itself in CG, and why that cliff had to feel like a character without ever pulling the eye. It is one of the projects we are proudest of.

The trailer for The Bluff, the Karl Urban and Priyanka Chopra Jonas pirate film we delivered over 150 shots for, shot in Queensland for Amazon MGM and Prime Video.

Director Sean Byrne talks to The Irish Times about his shark thriller, and gives us a lovely mention. Every fin you see above the water is ours. He wanted the sharks to behave like real animals rather than movie monsters, so we kept our CG honest and close to the nature documentaries.

We delivered 350 shots across all seven episodes of Netflix's most popular Australian production to date. Our favourite is Gus's vapour writing, the wispy smoke messages that hang in the air, which we built from the ground up in Houdini, along with the flying Kingswood dream sequences and a fully CG blue wren.

Season two's most explosive episode came down to our fire and smoke. We built photoreal flames and CG smoke for the burning of Hartley High, including the infamous "Flaming Richard" scorched into the school oval, so nobody had to set a real field alight.

We dove into Jules Verne's world for the AMC series, enhancing a pivotal fire scene with CG flame, embers and smoke, and creating ten distinct ocean looks across the show. Lindsay talks through how we held tone and continuity consistent from shot to shot and episode to episode.

Our breakdown for Nautilus, from a fire sequence that blends real chaos with cinematic control to the eerie, beautiful underwater world seen through the legendary submarine.

Murray Pope brought us back after The Portable Door to handle Monkey Man's standout axe fight. We sold every brutal impact of a deliberately lightweight stunt axe, tore plaster off the walls in Houdini, and for the split-wood textures the axe-throwing bar next door let us photograph some well-worn timber from their old targets.

Dev Patel's directorial debut, and we are in the vendor list with Lindsay supervising and Caroline producing. The standout axe fight was ours.

For this Sydney Film Festival thriller about cloned cows, we built a fully CG cow double that could go anywhere the real animal could not, including thrashing inside a water tank we simulated in Houdini. We also handled the near-future set extensions that make the world feel familiar but quietly wrong.

We joined eight other teams on Antoine Fuqua's finale and delivered some of the franchise's most brutal moments. The wine cellar opening was ours, with bullet wounds, blood and wine spraying from barrels we simulated in Houdini, plus the van crash and the stained-glass face replacement.

The trailer for Antoine Fuqua's The Equalizer 3, with Lindsay supervising our shots on Denzel Washington's send-off to the trilogy.

David Slade asked us to bring his monster Sawtooth Jack to life. Rather than replace the actor outright, we warped his in-camera performance onto a skeletal frame and added a glowing, burning head, dialling the CG up or down shot by shot so the horror always stayed grounded.

One of the biggest features we've taken on yet, and a proper workout. Over 140 shots of magic for the Jim Henson Company's fantasy, from hair that spells "beware" on its own to glowing tractor beams, giant ears and orb battles. Murray Pope trusted us with the lot.

Baz Luhrmann's Elvis, and we are proud to sit in the vendor list alongside the studios that built his world.

George Miller's Three Thousand Years of Longing, with Lindsay supervising our contribution to the film's effects.

Digital Media World spotlights our AEAF Awards entry for Glitch season three, the supernatural series where seven people rise from the dead with no memory of who they are. We handled the fire, smoke, disintegration and creature effects, plus set extensions and matte paintings.

David Michôd's The King for Netflix and Brad Pitt's Plan B. One of the first features for our young studio, with Lindsay supervising our work.

Lindsay supervises our shots on Damon Lindelof's HBO series Watchmen, the show we crewed up around as we opened our doors in Sydney.

VFX Voice asks Lindsay how he built Future Associate from nothing. The honest answer: we run our own cables, build our own servers, and Google the crap out of everything. His take is that small studios are exactly what a lot of clients are looking for, and there's never been a better time to start one.

Campaign Brief covered industry veteran Andrew Robinson joining us as Executive Producer to oversee business affairs, seven months after we opened our doors.