News

Deadline gets the first look at Mr. Irrelevant, the John Tuggle story starring David Corenswet, after the film scored a rare 100 with test audiences and locked in a Christmas Day wide release. Ours is the virtual production work behind it.

Assignment X reviews The Get Out and gives it a B, calling out how the Queensland locations read as suburban LA "we'd never know it but for the closing credits" — exactly the environment and set extension work we put into the film.

The Mongoose lands in theaters October 30, and it is one of the biggest jobs we have taken on: 250+ shots across the film. The chase is the film, so most of that work is CG vehicles, creature FX and the country the Mustang tears through, all of it built to sit inside footage shot at speed without ever announcing itself. Mark Vanselow directs, after years as Liam Neeson's stunt double.

Tenzing goes to Toronto as a gala presentation, and it is one of ours. Jennifer Peedom's first narrative feature tells the 1953 Everest ascent from Tenzing Norgay's side of it, with Genden Phuntsok in the lead opposite Tom Hiddleston and Willem Dafoe. It was shot in Nepal and New Zealand, and our job was the environment and set extension work that carries a mountain the crew could only get so far up. In cinemas October 9, on Apple TV October 16.

The Get Out is in cinemas, and we are in it. Russell Crowe plays a club owner being squeezed by cartels, with Teresa Palmer alongside him, and our work sits in the animation, environment, FX and vehicle shots across the film — the invisible kind, holding up a world that needs to feel like a real city with real trouble in it.

The Hollywood Reporter debuts the first trailer for The Mongoose, and it is one of ours. Liam Neeson plays Ryan "Fang" Flanagan, a decorated combat veteran wrongly accused of murder who leads a televised cross-country chase in a Mustang Shelby Cobra, with Marisa Tomei, Ving Rhames and Michael Chiklis in pursuit. Directed by Neeson's longtime stunt double Mark Vanselow, we delivered 250+ VFX shots across the film's high-octane action. In theaters October 30.

Martin McKenna's Wilderness has its world premiere at the 74th Melbourne International Film Festival, and it is one of ours. Mirrah Foulkes leads as Allie, a Melbourne doctor who sets off into the Victorian Alps, with Yael Stone as her estranged friend Kaz. We delivered creature, vehicle and environment work across the film, now a finalist for the $100,000 CinefestOZ Film Prize.

Collider premieres the trailer for The Mongoose, another feature carrying our work. Liam Neeson's Ryan "Fang" Flanagan is falsely accused of murder and takes off on a cross-country chase in a Mustang Shelby Cobra, with a wall of Texas Highway Patrol behind him. Director Mark Vanselow's action thriller hits theaters October 30, and we delivered 250+ VFX shots across it.

The Trusted Partner Network profiles how we built content security into the studio from the ground up. We earned TPN Gold not by retrofitting an existing space but by designing our rebuilt Sydney facility around the standard's 200-plus security controls from day one. As Lindsay puts it: "There was no retrofitting. We already knew what TPN Gold required. We designed around it from day one."

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.

People of Post digs into the visual effects behind Mortal Kombat II and director Simon McQuoid's approach of blurring the line between practical and digital across the film's three realms. We're listed among the six studios who built the film's effects, part of the roster bringing a universe of impossible physics down to something that still feels grounded and real.

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.

The Action Elite calls Scott Adkins' WWII POW-camp thriller one of his favourites, praising the pacing, fight choreography and score. Our animation, environment and vehicle work builds out the camp the story lives in.

The Hollywood Reporter previews Netflix's Apple Cider Vinegar, the Belle Gibson wellness-scam limited series starring Kaitlyn Dever. Our animation, creature and FX simulation work sits inside the show's early-2000s world.

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.