Author: adabrowski

December 2023 – Emmy nominated boutique visual effects studio Rocket Science VFX (RSVFX) built a photorealistic 3D neighborhood and complex FX simulations, comprising over 200 CG-heavy visual effects shots for Mike Flanagan’s Netflix limited series THE FALL OF THE HOUSE OF USHER.

The heart of Poe’s macabre world revolves around the enigmatic and decaying Usher family mansion. A full 3D version of the house and the surrounding street were required to help tell the story across several time periods and various states of architectural aging.

“The Usher house and the Tremont Street environment were a huge undertaking. Characters in and of themselves, with every detail needing to be accurate to reflect the time-periods and the eventual state of disrepair throughout the story.” Tom Plaskett, VFX Supervisor

The asset team modeled a full 3D version of the New York suburban street neighborhood – with the Usher hero mansion located at one end and the Longfellow house at the opposite end. Partial set builds were provided for each of the dwellings as a jumping off point for CG and specific actor interaction. For the massive CG street environment, the build required over 30 homes, and their surroundings, including greenery, electrical lines, and specific house details to sell the realistic neighborhood setting.

“Working with the Production team early on, it was established that we needed to show a gradient of wealth from one end of the street to the other. We went with Colonial Revival, Neoclassical architecture on the wealthier side and transitioned into American Craftsman, Ranch and shotgun architecture on the other end.” Tom Plaskett, VFX Supervisor

The RSVFX team was led by Tom Plaskett and John Coldrick, VFX Supervisors along with Chris Ross, VFX Producer.

The 3D Usher house would also be used as a base for the eventual collapse – engaging the assets and fx teams to collaborate closely.

“The collapse of the Usher house was the most creatively challenging body of work.” John Coldrick, VFX Supervisor

For the exterior, the FX team referenced demolition videos as well as homes that have experienced disasters, natural or otherwise. The detail in the interior, was key to selling the horror and danger – CG books falling from the shelves with debris being thrown about.

“The biggest challenge was making sure we kept the build-up consistent throughout the sequence and not going too large at the beginning but keeping enough so the audience felt the danger.” John Coldrick, VFX Supervisor

THE FALL OF THE HOUSE OF USHER Production VFX team, Bret Culp, VFX Supervisor and VFX Producer Krista Allain, further enrolled Rocket Science to take the CG mirror sequence to tell of Tamarlane Usher’s demise, along with detailed make-up augmentation for the undead Eliza Usher and additional supporting visual effects.

“We were excited to partner, once again, with the ever-talented VFX team, Bret Culp, and Krista Allain. We knew the expectations would be high. Thank you to Bret and Krista, Mike Flanagan, Intrepid Pictures, and Netflix. It’s always a pleasure to collaborate.” Anthony Paterson, CEO / Executive VFX Supervisor

Created by Showrunner, Mike Flanagan (THE HAUNTING OF HILL HOUSE), THE FALL OF THE HOUSE OF USHER is a gothic horror drama miniseries, loosely based on the Edgar Allan Poe short story about two ruthless siblings. To secure their fortune, and future, they build a family dynasty that begins to crumble when their heirs mysteriously die, one by one.

Watch THE FALL OF THE HOUSE OF USHER on Netflix now.

About RSVFX

December 2023 – Emmy nominated boutique visual effects studio Rocket Science VFX (RSVFX) creates complex fluid simulations and fx to empower the lead character, Marie Moreau, and other young Superheros in GEN V, Amazon’s BOYS universe spinoff. 

The RSVFX team, lead by VFX Supervisor Adam Jewett and VFX Producer Florent Villegas was brought on to develop and execute Marie’s hemokinetic superpower – the ability to psychically manipulate blood. Jordan’s blast, tiny Emma and additional supporting visual effects were also provided with over 250 shots delivered. 

“Our task was to make her power look rigid enough to feel contained and be used as a weapon, while fluid enough to feel like real blood.” Adam Jewett, VFX Supervisor. “Keeping a balance of rigidness and liquidity simultaneously required a lot of tweaking to work cohesively.” 

Marie’s power development needed to look consistent. From the start of realizing her power as a simplified simulation, to the crescendo in the final scene of the season, becoming more complex, emotional and responsive. From octopus tentacles to snake-like shapes and knife shards, the RSVFX team brought her power to life, while tackling the challenge of simulating liquid turning into rigid elements in seconds. 

Gen V storyline focuses on hormonal supe-students being confronted with brutal reality of Vought. RSVFX contributed to developing Jordan Li’s FX blast throughout the season and Sam’s lethal punch with CG slimy blood. Janine’s broken jaw sequence was a standout, with the team leaning on medical reference to realize the CG mandibular fracture accurately.  

Carrying on the fully CG blood and head/body explosion work from THE BOYS, RSVFX continues to shine with CG blood and gore to sell the gruesome reality of God U and its students, including a scene with Congresswoman Neuman and Dr. Cardosa in the parking lot and mouth-bomb that finished one of The Woods fugitive and God U’s Social Media Manager, Jeff. 

The RSVFX Team animated in Maya, used Houdini for FX simulations and rendered in Houdini using Arnold. 

All work was completed under the leadership of the GEN V Production VFX team; Karen Heston, VFX Supervisor, VFX Producer Tina Hynous, VFX Lead Producer Sean Tompkins and THE BOYS, Co-Producer and VFX Supervisor, Stephan Fleet. 

“Gen V was a bloody blast, literally.  Thank you to Stephan Fleet, Karen Heston, Sean Tompkins, Tina Hynous, Eric Kripke, Evan Goldberg, Craig Rosenberg, Tara Butters and Michele Fazekas, Sony, and Amazon Prime. We are extremely grateful to be part of THE BOYS family and look forward to the next one.” Anthony Paterson, CEO / Executive VFX Supervisor. 

Gen V is an American superhero television series, developed by Craig Rosenberg, Evan Goldberg, and Eric Kripke, serving as a spin-off of THE BOYS and based on THE BOYS comic book story arc “We Gotta Go Now” by Garth Ennis and Darick Robertson. The series serves as the third entry in THE BOYS franchise. The series, set concurrently with the fourth season of THE BOYS, premiered on Amazon Prime Video on September 29, 2023. In October 2023, the series was renewed for a second season. 

Watch RSVFX work in GEN V on Amazon Prime now. 

About RSVFX 

A VFX Breakdown of Netflix’s WEDNESDAY  

Rocket Science VFX recently collaborated with Foundry to produce and participate in one of their You Tube Live sessions for a global audience.

RSVFX showcased a behind-the-scenes look of the studio’s work on the Netflix hit tv series WEDNESDAY. The RSVFX team, led by VFX Supervisor John Coldrick and VFX Producer, Kayden Anderson discussed methodology, pipeline, technology utilization and challenges that were overcome to deliver the ground-breaking show. They presented how the work on the disembodied appendage ‘Thing’ and the Scorpio-pet ‘Nero’ were realized utilizing Foundry’s Nuke and Nuke Studio software packages. Overall Production VFX Supervisor, Tom Turnbull joined in to provide a unique perspective.

Watch the full RSVFX x Foundry YouTube Live Session (with Q&A) HERE.

CRIMES OF THE FUTURE Team Picks Up Win

April 17, 2023
Rocket Science VFX has won a Canadian Screen Award (CSA) for their work on David Cronenberg’s CRIMES OF THE FUTURE. Tom Turnbull, Executive VFX Supervisor, Peter McAuley, Production VFX Supervisor and Kayden Anderson, Production VFX Producer were lauded with the highest Achievement in Visual Effects presented at the Academy of Canadian Cinema and Television – 2023 The Cinematic Arts Awards Gala.

Peter McAuley, Production VFX Supervisor accepted the award and shared the team’s appreciation. “Wow, what an honor, I speak for the team here, to be recognized alongside such a distinguished group of nominees is truly special. Thank you to The Canadian Academy for recognizing our work. Thank you to Tom Turnbull, Kayden Anderson and Caitlin Foster, here with us tonight, and to the talented team at Rocket Science. Thank you to Robert Lantos, Aida Tannyan, everyone at Serendipity, and Steve Solomos for the opportunity to work on CRIMES OF THE FUTURE. And thank you to the master, David Cronenberg. Thank you for trusting in us to deliver your vision. It’s always a fun ride. We can’t wait to do it again.”

“We’re so proud of our team. Time and time again, their work elevates our client’s projects, both technically and creatively. It’s very gratifying to see our team recognized by our Industry peers for that achievement.” Anthony Paterson, CEO.

This is the fourth Canadian Screen Award for Rocket Science VFX, having picked up the prestigious recognition for their work on TERRY, SHATTERED CITY: THE HALIFAX EXPLOSION, and THE AVRO ARROW.

As the sole vendor on CRIMES OF THE FUTURE, the RSVFX team created a fully CG SARK model with medical instruments and mechanical arms, CG body doubles, CG wounds and gore, digital matte paintings for set and location extensions, along with additional compositing work.

Directed by body-horror auteur David Croneneberg (THE FLY, CRASH, A HISTORY OF VIOLENCE), CRIMES OF THE FUTURE tells a futuristic story about how the human species adapts to a synthetic environment, the body undergoes new transformations and mutations. Accompanied by his partner, Caprice (Léa Seydoux), celebrity performance artist Saul Tenser (Viggo Mortenson) showcases the metamorphosis of his organs. Meanwhile, a mysterious group tries to use Saul’s notoriety to shed light on the next phase of human evolution.

Rocket Science is an Emmy nominated boutique visual effects studio collaborating with filmmakers to create stunning visual imagery utilizing artistry, science and technology. Located in Toronto, Canada, notable credits include Eric Kripke’s Emmy nominated superhero series THE BOYS (Amazon),Tim Burton’s streaming hit sensation WEDNESDAY (Netflix), the epic video game adaptation HALO (Paramount +), Steve Blackman’s THE UMBRELLA ACADEMY (Netflix) and the recently released POKER FACE (Peacock) from Rian Johnson. The multifaceted VFX studio also boasts features such as David Cronenberg’s CRIMES OF THE FUTURE, Noah Baumbach’s WHITE NOISE (Netflix) and Rachel Morrison’s soon to be released FLINT STRONG (MGM).

RSVFX is currently in production on Mike Flanagan’s Edgar Allan Poe adaptation THE FALL OF THE HOUSE OF USHER (Netflix), the fourth season of THE BOYS and its upcoming spinoff GEN V for Amazon, and FREAKY TALES (eOne), written and directed by CAPTAIN MARVEL duo, Anna Boden and Ryan Fleck.

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RSVFX helps recreate the iconic appendage for Tim Burton’s WEDNESDAY

Emmy nominated visual effects studio Rocket Science (RSVFX) partnered with legendary Director Tim Burton and Show Creators Miles Millar and Allan Gough to help recreate the iconic THING character for the TV series WEDNESDAY, now streaming on Netflix.

Led by Production VFX Supervisor Tom Turnbull and VFX Producer Kent Johnson, within three weeks of release, WEDNESDAY became the second-most watched English-language series on Netflix. John Coldrick, VFX Supervisor and Kayden Anderson, VFX Producer led the RSVFX team.

 

“We are very proud of our team’s work in helping to catapult WEDNESDAY to one of Netflix’s most watched series. We thank MGM, Netflix, Miles, Al and of course, Tom and Kent for collaborating with us on the stand out character ‘Thing’. It has been an immensely rewarding experience. We are looking forward to where this journey takes us in Season 2.” Anthony Paterson, CEO / Executive VFX Supervisor

The RSVFX team delivered over 300 shots across the record breaking series, with the majority of the scope of work focused on ‘Thing’, along with Wednesday’s Scorpio-Pet, digital doubles, dynamic CG fire, explosion and fx simulations with additional supporting visual effects.

“The team nailed ‘Thing’. We created a partial rig consisting of the wrist and the hand down to the finger base. This was tracked onto the stunt performer in the plate. We often had to tweak the wrist performance to create the illusion of a bodiless hand. It was challenging to remove almost the entirety of the stunt actor in a significant number of shots, recreating elements with a moving camera. And occasionally we would adjust ‘Thing’s’ fingers in the plate to help illustrate the physics of a stand-alone hand maintaining its balance.” John Coldrick, RSVFX Supervisor.

The disembodied hand was conceived with a combination of hand acting, from Magician come Actor Victor Dorobantu dressed in a blue suit, prosthetics to add the stump to his real hand, and the Rocket Science visual effects team seamlessly integrating ‘Thing’ into frame.

The process was intense, as described by Production VFX Supervisor, Tom Turnbull, “…the process was painting out 90% of the human being and keeping 10% which is the hand. Its actually very hard to do.”

“Realizing ‘Thing’ was more challenging than it looks. For many of the complex shots we had to troubleshoot to devise unique solutions. Maintaining the actor’s hand performance and recapturing the environment with fidelity was not a one size fits all scenario”. Kayden Anderson, RSVFX Producer

WEDNESDAY, directed by Tim Burton, created by Alfred Gough and Miles Millar, is an American coming-of-age supernatural mystery comedy horror series based on the character Wednesday Addams.

Rocket Science is an Emmy nominated boutique visual effects studio collaborating with filmmakers to create stunning visual imagery utilizing artistry, science and technology. Located in Toronto, Canada, notable credits include Eric Kripke’s Emmy nominated superhero series THE BOYS (Amazon),Tim Burton’s streaming hit sensation WEDNESDAY (Netflix), the epic video game adaptation HALO (Paramount +), Steve Blackman’s THE UMBRELLA ACADEMY (Netflix) and the recently released POKER FACE (Peacock) from Rian Johnson. The multifaceted VFX studio also boasts features such as David Cronenberg’s CRIMES OF THE FUTURE, Noah Baumbach’s WHITE NOISE (Netflix) and Rachel Morrison’s soon to be released FLINT STRONG (MGM).

RSVFX is currently in production on Mike Flanagan’s Edgar Allan Poe adaptation THE FALL OF THE HOUSE OF USHER (Netflix), the fourth season of THE BOYS and its upcoming spinoff GEN V for Amazon, Jeremy Garelick’s MURDER MYSTERY 2 (Netflix) and FREAKY TALES (eOne), written and directed by CAPTAIN MARVEL duo, Anna Boden and Ryan Fleck.

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EMMY NOMINATED ARTIST NAMED HEAD OF CREATIVE

February 2023 – Emmy nominated, renowned artist Matt Schofield has joined Toronto based Rocket Science VFX as Head of Creative.

With a 2023 VES nomination for his work on VIKINGS: VALHALLA (Netflix), Matt’s recent credits also include MS. MARVEL (Disney+).

“Matt is an unparalleled creative talent. His background in painting and fine arts have created a firm foundation from which he has built his long standing film and television career with particular achievements in visual effects. We are excited to be working with Matt closely in this leadership role, as we continue to build our world class creative team for our clients.”, says Anthony Paterson, CEO / Executive VFX Supervisor.”

Coming to Rocket Science from MPC (Mr.X) Toronto, Schofield spent 16 years helping to lead creative at the studio beginning with building the matte painting department before moving on to creative management within the company and Digital FX Supervision for MPC clients. His illustrious filmography includes tiles from distinguished filmmakers, including, Tim Burton’s WEDNESDAY (Netflix), James Gray’s AD ASTRA (Fox) Guillermo del Toro’s NIGHTMARE ALLEY and CRIMSON PEAK (Fox), Alfonso Cuaron’s ROMA (Netflix), and Olivia Newman’s WHERE THE CRAWDAD’S SING (Columbia Pictures).

“My favorite days in this industry are when artists surprise themselves with something they thought they could not achieve. It’s a beautiful thing, witnessing the elevation of talent, skill and quality in an individual and in turn a company. I’m looking forward to building on the solid creative foundation Tom and Anthony have been known for with Rocket Science, and helping to support our artists as they flourish.” said Schofield.

His work was recognized early in his career with a Primetime Emmy nomination for HAVEN in 2001. In 2006 his digital matte painting work was part of a VFX Oscar nomination for Bryan Singer’s SUPERMAN RETURNS (Warner Bros.).

Matt Schofield full filmography: IMDB

Matt’s traditional art focuses on his interest in observing the idiosyncratic nature of the photographer and their subjects.

He has been exhibiting his artwork in commercial galleries, museums and artist run centres nationally and internationally since 1996. He has exhibited in Paris, Brussels, Florence, San Francisco, Los Angeles, New York, Brooklyn, Chicago, Orlando, Miami and Toronto. He has exhibited with Nicholas Metivier Gallery, Mulherin and Pollard, Kabat-Wrobel Gallery, MEG Gallery, DU art Gallery, Zia Gallery and Projects Gallery. He has participated in group and curated exhibitions At The Red Head Gallery, Loop Gallery; Propeller Gallery and AWOL Gallery.

Matthew’s work has been highlighted in Toronto Life Magazine, The Globe and Mail, and NOW Magazine. He is featured in the book Carte Blanche Volume 2: Painting, which is an overview of the state of Canadian painting in 2008.

In 2011 he was a finalist in the BP Portrait award in London, UK and in the same year he was a finalist in the Kingston Prize for Portraiture. In 2009 he was a finalist in the Kingston Prize for Portraiture. Matthew started his education in Architecture and completed an Honours Degree in Fine Arts from both McMaster University and the Ontario College of Art and Design.

Rocket Science is an Emmy nominated boutique visual effects studio collaborating with filmmakers to create stunning visual imagery utilizing artistry, science and technology. Located in Toronto, Canada, notable credits include Eric Kripke’s Emmy nominated superhero series THE BOYS (Amazon),Tim Burton’s streaming hit sensation WEDNESDAY (Netflix), the epic video game adaptation HALO (Paramount +), Steve Blackman’s THE UMBRELLA ACADEMY (Netflix) and the recently released POKER FACE (Peacock) from Rian Johnson. The multifaceted VFX studio also boasts features such as David Cronenberg’s CRIMES OF THE FUTURE, Noah Baumbach’s WHITE NOISE (Netflix) and Rachel Morrison’s soon to be released FLINT STRONG (MGM).

RSVFX is currently in production on Mike Flanagan’s Edgar Allan Poe adaptation THE FALL OF THE HOUSE OF USHER (Netflix), the fourth season of THE BOYS and its upcoming spinoff GEN V for Amazon, Jeremy Garelick’s MURDER MYSTERY 2 (Netflix) and FREAKY TALES (eOne), written and directed by CAPTAIN MARVEL duo, Anna Boden and Ryan Fleck.

Visit rsvfx.com

BOUTIQUE STUDIO DELIVERS OVER 400 CG SHOTS

November 2022 – Emmy nominated boutique visual effects studio Rocket Science (RSVFX) delivered over 400 CG-heavy visual effects shots for the hit Paramount+ sci-fi series HALO.

“This first season of HALO was an epic journey of creative and technical discovery. One that we are extremely proud to have been a part of.  We are thankful to Tom Turnbull, Dominic Remane, and Bill Haliday for partnering with our team to deliver ground-breaking visual effects on this top tier production. We appreciate Take 5, Paramount+, and Microsoft for putting their faith in us. Having unparalleled support from our partners was key to our success.” Anthony Paterson, CEO / Executive VFX Supervisor.

HALO Production VFX team, originally led by RSVFX’s own Tom Turnbull, VFX Supervisor, and later Emmy Award winners Dominic Remane, VFX Supervisor and VFX Producer Bill Halliday, leaned on Rocket Science to carry the bulk of the CG space fleet, heavy fx work and environments for the show. Tom Plaskett, VFX Supervisor, JP Giamos, VFX Producer and John Markle, VFX Production Manager led the RSVFX team of 200+ artists over the run of the show.

“Halo was a blast! We were presented with some unique creative challenges – how to build a space city with connecting pieces all with unique animation – The Rubble – and how the Forerunner Artifact would react to Master Chiefs touch. We set out to explore different techniques to see where we could push the work with Houdini and Arnold. The whole team rose to the occasion.” Tom Plaskett, RSVFX Supervisor.

Along with the hero ship, the Super Condor, RSVFX created the majority of spacecraft featured, including the Covenant Fleet – Banshee, Battle Cruiser, Assault Carrier, Heavy Cruiser, Phantom, Heavy Corvette, Seraph, Spirit; UNSC Fleet – Super Condor, Pelican, Frigate, Corvette, Bumblebee, Pioneer Longsword, Scorpion; Dr. Halsey’s ship and Soren’s Tug. The RSVFX asset team created all of the assets in Maya, and rendered in Arnold, to be compatible for multiple vendors worldwide.

The RSVFX team delivered impressive environment work. The Rubble (E2), a sci-fi asteroid colony strung together by mechanical tubes, was an exciting challenge for the team who had to balance the visual chaos of a city built from the refuse of other structures with the functionality of a commercial space-port. In addition to the Kora (the central asteroid of the Rubble system) and the asteroids connected to it, RSVFX also generated an array of asteroids for the asteroid field that Kwan and Master Chief perilously navigate to arrive at the Rubble. 

Rocket Science produced multiple establishing shots of the desert metropolis, Madrigal (E4) as well as a full CG shot of Soren’s Tug navigating the rocky terrain. Work on Madrigal City continued with many environment extensions within the city walls as Kwan and Soren navigate the busy streets.

The RSVFX team took on the Artifact; the mysterious Forerunner object discovered on planet Madrigal. RSVFX worked closely with Art Directors at 343 Studios to ensure that the look development of the Artifact fit within the canon of the HALO universe and that the symbols and glyphs that the Artifact produced correlated to the originals. On a technical level, the illumination effect of the Artifact was somewhat unique: animated maps generated by the compositing team provided the rhythm and pacing for the flickering lights within the object, which, once activated, revealed a crystal sub-structure beneath the benign metallic exterior. 

“HALO has a huge following. It was crucial we deliver stellar creative. Our long history with the sci-fi genre and direct approach was key to the team successfully delivering beyond expectations.” says VFX Producer JP Giamos. 

Rocket Science is currently in production on HALO S2.

Halo is a military science fiction television series developed by Kyle Killen and Steven Kane for Paramount+. Based on the video game franchise of the same name, the series follows a 26th-century war between the United Nations Space Command and the Covenant, a theocratic-military alliance of several advanced alien races determined to eradicate the human race.

Rocket Science is an Emmy nominated boutique visual effects studio collaborating with filmmakers to create stunning visual imagery utilizing artistry, science and technology. Located in Toronto, Canada, notable credits include Eric Kripke’s Emmy nominated superhero series THE BOYS (Amazon), the epic video game adaptation HALO (Paramount +), Steve Blackman’s THE UMBRELLA ACADEMY (Netflix), and features such David Cronenberg’s CRIMES OF THE FUTURE and Noah Baumbach’s soon to be released WHITE NOISE (Netflix). 

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Boutique VFX Studio Leads with Workforce Development & Diversity Initiatives

“I had a lovely time with the team at Rocket Science VFX, where I was given an opportunity to observe the inner workings of their busy studio. I learned the importance of tax credits, budgeting, and artist organization, all of which keeps their studio running smoothly to meet client deadlines while producing quality visual effects.” ~ Set Shuter, Post Production Supervisor

“The program with RSVFX was fantastic, the amount I learned is worth its weight in gold.” ~ Ariana Saadat, VFX Supervisor/Compositor 

“RSVFX provided me with the resources to have an incredible experience working both remotely and in-studio. I appreciated the opportunity to work on multiple projects, which provided me with a depth of knowledge.” ~ Brittany Lewis, VFX Editor

November 2022 

Emmy nominated boutique visual effects studio Rocket Science VFX (RSVFX) has prioritized its team building initiatives towards workforce development and diversity.

Rocket Science has partnered with The Canadian Academy for a second year,  to support their Women in Post Program, providing higher-level industry access and professional development for women identifying or non-binary emerging to mid-level creatives working in all areas of post production.

“It’s important to participate in community building partnerships and develop internal initiatives aimed at elevating and supporting diversity within visual effects.  When we all play our part in championing future artists, we move the needle to develop career paths, bolstering an inclusive workforce.” ~ Christa Tazzeo Morson, Executive VFX Producer

In addition to the Women in Post program, Rocket Science collaborates with the Toronto based branch of Women in Film and Television (WIFT), a member based non-profit organization leading in building an equitable, inclusive and accessible screen-based media industry. RSVFX has also developed internal programs, including monthly WIVFX  (Women in Visual Effects) @ RSVFX meetings to support and develop career paths for women in visual effects.

“RSVFX is proud to take action to support diversity and representation in the film and television industry, specifically visual effects. We have made it a mandate to implement initiatives that strive to reflect our creative culture as a whole.” ~ Anthony Paterson, CEO

The Academy’s Women in Post Program programming includes strategic learning modules, creative and technical skills building, and hands-on mentorship at a post production company or with a post production-related role. The Women in Post Program is presented by Netflix and supported by Canada Media Fund and RBC Foundation in support of RBC Emerging Artists, and industry partners Company 3 and Rocket Science VFX.

Earlier this fall, RSVFX hosted paid internships for three participants from the inaugural cohort of the Academy’s Women in Post Program. Set Shuter, Post Supervisor, Ariana Saadat, VFX Supervisor/Compositor, and Brittany Lewis, VFX Editor, were paired with one of RSVFX’s industry leading mentors to engage in creative and technical development sessions with the goal of developing fundamental skills for career opportunity, development and advancement. 

For more information about the WOMEN IN POST program, visit: academy.ca/programs/womeninpost/

Rocket Science is an Emmy nominated boutique visual effects studio collaborating with filmmakers to create stunning visual imagery utilizing artistry, science and technology. Located in Toronto, Canada, notable credits include Eric Kripke’s Emmy nominated superhero series THE BOYS (Amazon), the epic video game adaptation HALO (Paramount +), Steve Blackman’s THE UMBRELLA ACADEMY (Netflix), and features such David Cronenberg’s CRIMES OF THE FUTURE and Noah Baumbach’s soon to be released WHITE NOISE (Netflix). 

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BOUTIQUE STUDIO DELIVERS KEY FX AND ENVIRONMENTS

September 2022 – As a key vendor, Emmy nominated boutique visual effects studio Rocket Science (RSVFX) delivered over 350 CG heavy visual effects shots for another season of the widely acclaimed Amazon series THE BOYS.

THE BOYS Production VFX team, led by Emmy nominees Stephen Fleet, VFX Supervisor, and Shalena Oakley-Butler, VFX Producer, partnered with RSVFX to take on 3D environment work, heavy fx work including fire explosions, the inception and execution of Soldier Boy’s radio-active superblast powers, and the continuation of body and head explosions which figure prominently throughout the series.

Anthony Paterson, VFX Executive Supervisor, Alonso Varela VFX Supervisor, and Chris Ross, VFX Producer led the RSVFX team.

“We are very proud to have been entrusted by Stephan and Eric to help create the Compound V(FX) that powers Homelander, Kimiko, and Victoria Neuman. And to creatively partner on this season’s new lead character, Soldier Boy, the first Vought hero. Our team loves the challenge and the ride. Big thanks to Sony and Amazon too.” Anthony Paterson, CEO / Executive VFX Supervisor.

Soldier Boy, the first Vought hero and leader of the Payback, the precursor team of the Seven, was conceived to use a radioactive blast as his superpower. The RSVFX team utilized real world reference, FX fire and blast simulations to achieve the finished look.

Carrying on the fully CG blood and head/body explosion work from previous seasons, RSVFX continues to shine with CG blood and gore to sell the gruesome reality of the Victoria Neuman and Tony fight (E1) and the elimination of the Gunpowder (E2) sequences. 

Impressive environment work is represented in the Vought skyline surroundings seen in the series finale (E8), the Tessa and Tommy twins’ Mansion at Herogasm party (E6), as well as Russian cities and streets (E4). 

“The team delivered on some really big hero sequences. Working closely with Stephan to deliver on Soldier Boy’s New York City blast created something special. And the team raised the bar when working on Tony’s demise, making for an intensely shocking plot twist.” Chris Ross, RSVFX Producer.

Created by Showrunner, Eric Kripke, THE BOYS is a fun and irreverent take on what happens when superheroes—who are as popular as celebrities, as influential as politicians, and as revered as gods—abuse their superpowers rather than use them for good. Intent on stopping the corrupt superheroes, THE BOYS, a group of vigilantes, continue their heroic quest to expose the truth about The Seven and Vought—the multibillion-dollar conglomerate that manages the superheroes and covers up their dirty secrets. It’s seemingly powerless against the super powerful.

Rocket Science is an Emmy nominated boutique visual effects studio collaborating with filmmakers to create stunning visual imagery utilizing artistry, science and technology. Located in Toronto, Canada, notable credits include Eric Kripke’s Emmy nominated superhero series THE BOYS (Amazon), the epic video game adaptation HALO (Paramount +), Steve Blackman’s THE UMBRELLA ACADEMY (Netflix), and features such as David Cronenberg’s feature CRIMES OF THE FUTURE and Noah Baumbach’s, 2022 Venice Film Festival opener, WHITE NOISE (Netflix).

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June 28th, 2022 – Toronto based visual effects studio, Rocket Science, is proud to announce the appointment of VFX Supervisor Peter McAuley to the team.

McAuley joins a solid list of VFX Supervisors covering a slate of feature film and episodic work, including THE BOYS (Amazon), WEDNESDAY (Netflix), and HALO (Paramount)+. 

“We are thrilled to bring Peter onboard our growing roster of VFX Supervisors. He brings a wealth of creativity and technical knowledge from his extensive commercial experience. We look forward to leveraging his creative vision and execution in camera and in post”, says Anthony Paterson, CEO / Sr. VFX Supervisor

McAuley is onboard to supervise visual effects on Jean-Francois Richet’s THE PLANE (Lionsgate) and Rachel Morrison’s FLINT STRONG (MGM), after delivering on David Cronenberg’s CRIMES OF THE FUTURE, currently in theaters.

Peter began editing commercials and music videos in the 80s, later becoming a partner at Daily Post. By the mid 90s, Peter was signed on to shoot commercials and music videos around the globe as a VFX Supervisor. Working for The Mill, Framestore, MPC, Technicolor, Method, with top Directors on key shoots, including Drake’s Hotline Bling with Director X, Joe Pytka’s Budweiser Superbowl spots, and Bob Hooper’s Budlight Superbowl spot. 

Peter migrated to long form as a VFX Supervisor on Deepa Mehta’s FUNNY BOY (Array), a feature that received eight Canadian Screen Award (CSA) nominations, including Achievement in Visual Effects, Film. 

“Rocket Science has been a great landing pad for me. The studio has a wealth of talent and their production management teams are top shelf.  I am thrilled to work together more closely to continue my filmmaking adventures,” says McAuley. 

Rocket Science is an Emmy nominated boutique visual effects studio collaborating with filmmakers to create stunning visual imagery utilizing artistry, science and technology. Located in Toronto, Canada, notable credits include Eric Kripke’s Emmy nominated superhero series THE BOYS (Amazon), the epic video game adaptation HALO (Paramount +), Steve Blackman’s UMBRELLA ACADEMY (Netflix), and features such as Neil Jordan’s GRETA (Sidney Kimmel) and David Cronenberg’s feature CRIMES OF THE FUTURE.

RSVFX is currently in production on Tim Burton’s WEDNESDAY (Netflix), Mike Flanagan’s Edgar Allan Poe adaptation FALL OF THE HOUSE OF USHER (Netflix), Rian Johnson’s POKER FACE and Jean-Francois Richet’s THE PLANE (Lionsgate).

Visit rsvfx.com