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From the earliest pages of the script, Showrunner Haley Z. Boston made her vision unmistakable: every instance of the words “blood” or “bleeding” appeared in bold red. Her mantra, “there’s no such thing as too much blood,” set the tone for a season of visual effects that included over 250 shots of hero CG blood and supporting gore, environments and invisible effects.

Jo Hughes, Production VFX Supervisor / Producer, oversaw the visual effects across the full season, working closely with Boston and the production’s creative teams, with Rocket Science VFX proudly serving as lead vendor with Mike Duffy serving as VFX Producer.

“Haley, Andrea, and Hilary were the creative dream team to collaborate with. Having Haley’s crystal-clear vision guiding us from day one made creating the visual effects an absolute joy. That clarity meant our team built on a solid foundation, and the results speak for themselves,” expresses Hughes.

The main plot of SOMETHING VERY BAD IS GOING TO HAPPEN is built around a supernatural bloodline curse which dictates that each generation of a specific family must marry their true soulmate before sunset on their wedding day, or they will violently bleed to death. And if the wedding fails to happen at all, the curse transfers over to the fiancé’s family instead, triggering a horrific physical reaction where family members start spurting blood and bleeding out.

The Rocket Science team was tasked with developing this hero Bloodline Curse Effect.

The team developed three approaches depending on the performance and the needs of the shot. Hero cast moments combined prosthetic tubing with FX simulation, cleanup and 2D enhancement. Background performers were generally filmed with practical makeup blood, which VFX extended and refined. For moments requiring less bleeding, the effect could be created digitally on a clean face.

“The amount of blood in CARRIE and at the end of THE SUBSTANCE was referenced. It needed to be a lot!” states Hughes.

One key reference was Billie Eilish’s music video ‘When The Party’s Over’, which employed practical black fluid pumped via prosthetic tubing into the artist’s eyes. Through initial research, the practical blood product to be used on-set for SVB could not safely interact with the actors’ eyes – inspiring Prosthetics, Make Up and Visual Effects to collaborate on blended approaches. Leaning into in-camera effects where practical and leveraging VFX where impractical.

Heavy research into the physics of liquid pooling and pouring from tear ducts, with real-world reference of natural tears welling around the eyes and falling, was also undertaken by the RS team.

Blending practical SPFX Prosthetics blood with digital blood had both advantages and disadvantages.

“I like to have something practical to anchor to, and the practical blood on faces and clothing was invaluable to us during digital production, serving as perfect reference for the CG Curse Effect,” explains Hughes.

With the added challenge, the Houdini-driven CG blood simulations needed to blend seamlessly into the practical blood, in terms of placement, physics and photographic qualities. Most often, this was required on the actors’ faces. VFX would start the blood flow from the tear ducts and over the lower lid, then match to the practical streams around the cheekbones. The facial geometry was built in Maya, blood simulated in Houdini, rendered using Karma in Solaris, and composited in Nuke.

Jo notes, “Two shots from Rachel’s POV were the most complex. She is looking down at her hands as she catches blood falling from her face. In both cases, practical blood was used but the streams were not as smooth as Haley wanted.”

The RS team developed extreme hero Blood FX simulations, timed to fill the gaps of the plate blood with detailed compositing to remove edges from the pools of blood to blend seamlessly into one surface.

Spoiler Alert: In the finale, with Rachel dodging the altar, the Curse Effect transfer of burden transmits to Nicky’s (the groom) family at what would have been the wedding reception. The groom’s family begins bleeding to death – the blood starting as an insidious drip before flowing faster, everywhere. The RS team supported with enhanced blood coverage to set the gruesome scene.

The Somerhouse environment required the RS team to extend the architecture of the home and set the seasonal scene.

“The show’s creatives loved the exterior of our location, but the double garage end of the house was the least attractive façade,” says Hughes.

This end of the practical location was transformed into the exterior of the Ceremony Room, introducing its triangular window. A very significant room later in the season, it was important to establish and foreshadow in Episode 1 as the happy couple arrives at the home.

Using Production Designer Dick Lunn’s interior design as a starting point, the RS team worked in stages of concepting to establish scale, roofing design, exterior cladding style and environment extensions to seam into the plate photography. Surrounding foliage and landscape rocks were added to complete the environment aesthetic.

Winterization and snow continuity created complexity. With the last episode filmed on the cusp of Ontario spring, earlier winter photography became the bible for rebuilding the ground and foliage snow coverage. CG aerial snow was also added to key scenes.

Additional unique challenges came through a driving sequence with Rachel and Nicky, heading to the Somerhouse.

The 90-second, 360º driving comp cyclorama with close-up of a 3D pick-up truck passing was a notable visual effects solve. Introduced as an idea during post, no vehicle elements had been photographed for the sequence, giving the team the opportunity to build a fully CG truck and driver.

Vehicle geometry and animation were completed in Maya, with texture/lookdev in Arnold and rendering taking place in Houdini using Arnold. Compositing utilized Cara VR tools for the stitching of eight background driving plates to create the 360° field of view, and Nuke compositing for the truck and driving comp integration. The actors were photographed inside the car against blue screen, while a separate nine-camera rig recorded the moving road environment.

CG wardrobe changes, enhanced gore and fire augmentation, along with 2D supporting visual effects rounded out the scope.

“The team nailed this one from concept through delivery. Jo’s leadership, both as a client and creative force with the team, was paramount to the show’s success. We’re incredibly grateful to Haley, Andrea, Hilary, The Duffer Bros and Netflix for the opportunity,” shares Christa Tazzeo, Executive VFX Producer.

SOMETHING VERY BAD IS GOING TO HAPPEN is an atmospheric horror-thriller series created by Haley Z. Boston and executive produced by the Duffer Brothers’ Upside Down Pictures. Released globally on Netflix on March 26, 2026, the 8-episode limited series centers on an ill-fated couple in the week leading up to their wedding.

Watch now on @Netflix

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Directed by Matt Bettinelli-Olpin and Tyler Gillett (Radio Silence), HERE I COME follows the success of the first READY OR NOT installment, picking up the story from where we left off.   

Moments after surviving the Le Domas family attack, Grace is pulled into another high-stakes ritual hunt. As she is reunited with her estranged sister Faith, she must stay alive as four families compete for the High Seat of the Council. 

RSVFX delivered close to 200 shots, comprised of CG blood simulations, environments and supporting visual effects – CG helicopter, weapon extensions, gore enhancement and CG pyro effects. 

VFX Supervisors, Adam Jewett and Jesse Kawzenuk led the helm for RSVFX, with Jessica Fleming serving as VFX Producer. 

Following the storyline of the dreadful family curse, it was important that the look of the imploding-body effect was replicated, with the added touch of each instance needing to feel different for each character meeting their demise. A combination of practical blood elements shot on set, married with multiple iterations of CG blood simulations, helped each implosion stand uniquely on its own. Adjustments were made to the physics of each CG pass created in Houdini and rendered in Karma, to achieve the right performance. With the main challenge to have all elements feel like one cohesive event. 

Setting the scene for the Le Domas Resort required a blend of multiple locations. The background plate was established from a golf course shot in Hamilton, Ontario with the main resort building a combination of Toronto’s Liberty Grand and Montreal’s Sun Life Building, providing the scale the Directors were looking for. The team worked with photogrammetry of both buildings to establish how the two structures could work together proportionally. The Liberty Grand’s front walls and lantern domes were duplicated around the Sun Life Building to give the resort a larger presence on screen. From concept through comp, the architecture, signage, and surrounding environment were refined so the resort would read as one location on screen. 

The Goat Pit was a key element of the film’s final act. For the opening, the team built and animated a CG door, with dust particulate releasing from the moving hinges and seams to suggest a space that had been sealed for some time. Interior lighting and falloff gave the pit a sense of depth, while swarming flies added to the decay within. Blood detail, wetness, and later CG blood bursts added to the violence unfolding within the pit. 

Additional supporting work included a CG helicopter for arrival at the Le Domas Resort. CG pyro bolstered practical explosion work, along with multiple weapon extensions, puncture wounds and gore enhancements to round out the scope of work, all adding to the element of horror unfolding. 

READY OR NOT: HERE I COME was released by Searchlight Pictures in theatres on March 20, 2026. 

Watch now on @Amazon Prime.

In WEDNESDAY S2, Wednesday Addams returns to Nevermore Academy and faces a new supernatural mystery involving a murderous avian threat, a stalker with bird-controlling abilities, and a horrifying vision of her werewolf roommate, Enid’s, death. Meanwhile, her brother Pugsley accidentally resurrects Isaac Knight, a reanimated corpse holding a dark family secret.

RSVFX was a lead vendor on the award-winning show delivering over 550 shots. Working directly with Director and Executive Producer Tim Burton, and Show Creators Miles Millar, and Allan Gough, RSVFX’s Tom Turnbull served as Production VFX Supervisor with Kent Johnson, VFX Producer.

Work spanned the concepting and development of key CG sequences, including the 3D hero character build of One-Eye, the lead sinister crow, and his accompanying flock showcased throughout the series. Bespoke feather and flocking systems were created to deliver the lifelike look and performance.

Orloff, Nevermore Academy’s longest serving professor, a biology teacher, famously appears as a disembodied head in a jar. RSVFX Art Department, led by Matthew Schofield, fleshed out the initial prop design to develop the gruesome cavernous zombie chewed head. Working from a scan of the actor’s head, the asset was built from facial detail and skin texture down to the blood pooling within the tank.

The team created repeat performances of everyone’s favorite appendage, ‘Thing’, conceived with a combination of hand acting, from Victor Dorobantu dressed in a blue suit, prosthetics to add the stump to his real hand, and Rocket Science seamlessly integrating ‘Thing’ into each frame. Each shot was handled differently. Compositing adjusted the wrist directly when the prosthetic held up, a CG wrist stump was tracked in using a camera match move and object track when it needed replacing, and full CG Thing was reserved for moments where a live performance wasn’t possible.

Additional work included CG swarming hornets, CG fire and pyro effects showcased in the immolation of the new Nevermore principal, Barry Dort, along with digital matte painting and environment work.

The Rocket Science team was led by VFX Supervisor John Coldrick and VFX Producer Ali Mio.

Rocket Science was proud to return to the series following our work on S1

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Before & Afters Magazine

26.06.11 – Rocket Science VFX was brought in to help reconstruct 1970s Chicago for DEVIL IN DISGUISE: JOHN WAYNE GACY (Peacock), transforming contemporary filming locations into period-authentic environments.

VFX Supervisor John Coldrick describes the directive and meticulousness behind the work.

“A lot of what we did was structural correction,” says Coldrick, “We weren’t adding embellishment, we were reengineering the practical locations to be period and location specific. Proportions, surface detail, signage systems, everything had to align with archival reference and still hold up under lens distortion and lighting continuity.”

The goal was to ensure the photography felt historically authentic, without feeling imposed.

“When you’re dealing with factual, sensitive storylines,” Coldrick adds, “there’s a responsibility. The setting has to feel accurate. The tone must feel honest.”

The Greyhound Bus Terminal served as a key locale to set the narrative within downtown Chicago. Filmed at Jackson Square in Hamilton, Ontario, the location required a comprehensive transformation to represent the station circa 1970s.

Previsualization and concept work for the Greyhound Bus Station was developed by Rocket Science Head of Creative, Matthew Schofield, and team. Working directly with Production VFX Supervisor Robert Crowthers and Coldrick, they established the look and created the newly conceived station as a 3D asset in Maya. The front of the building and the distinctive Greyhound sign were each modeled and textured individually. Digital matte painting and CG integration extended the surrounding cityscape, adding and adjusting background buildings while reconstructing period storefronts, roads, and sidewalks across the full frame.

The station needed to feel active and highly trafficked, the kind of place where someone could pass through without ever being noticed.

The environment work extended beyond the terminal to other locations central to the investigation. The Des Plaines Police Department also required subtle reconstruction through building extension and signage work to bring the location back to its 1970s context.

Beyond street-level environments, Chicago’s elevated rail system, the L train, reinforced the city’s identity throughout the series.

The train, station, and platform were modeled as 3D assets with careful attention to beam spacing, ironwork patterns, and surface wear consistent with the era.

“The ‘L’ isn’t just background,” Coldrick notes. “It has weight. The proportions have to be right. The texture has to feel real. If it’s even slightly off, the illusion collapses.”

The series briefly departs Illinois for a 1960s flashback set at Grand View Mortuary in Las Vegas, requiring a complete shift in geography.

Desert hillsides, mid-century structures, palm trees, and regional signage were integrated to establish the Nevada setting, where 2.5D digital matte painting extended the photographed location outward, reshaping the horizon and integrating heat haze to reinforce the sweltering climate.

As the pressure mounts, the focus shifts to Gacy’s home in suburban Illinois.

Positioned within a middle-class neighborhood, the house is initially framed as part of a community that carried familiarity and warmth, with porch lights active, homes illuminated, as though the street carried an everyday routine.

As suspicion grows, the visual treatment shifts.

“Lighting subtly recedes from the surrounding houses, and the contrast deepens, leaving the Gacy residence increasingly exposed within the frame,” says Coldrick.

Previsualization and early concept development from the Rocket Science team helped to establish how that gradual isolation would unfold across aerial and street-level views, with the surrounding neighborhood progressively falling away and attention drawn toward the Gacy residence.

The house exterior itself was replaced through 2.5D matte painting. With the property appearing across autumn, winter, and spring throughout the series, snow cover along roadways and shrubs, foliage density in surrounding trees, and grass color were all modified to reflect each season. Modern vehicles were removed across exterior shots so the location remained true to its decade, and in colder weather scenes, visible breath from actors was painted out to support seasonal continuity.

With close to 250 shots, Rocket Science VFX handled each detail with care that the production required while ensuring the work sat quietly beneath the story.

“Devil in Disguise reflects invisible visual effects in its truest form. The team effectively helped to set the story in 1970s Chicago seamlessly,” says Executive VFX Producer Christa Tazzeo. “Thank you to our collaborators, Production VFX Supervisor Robert Crowthers and NBC Universal.”

DEVIL IN DISGUISE: JOHN WAYNE GACY is an eight-episode limited true-crime drama series that follows Lieutenant Joe Kozenczak and Detective Rafael Tovar of the Des Plaines Police Department as they uncover the remains of 32 victims and expose the systemic failures that allowed Gacy to walk freely for years.

The series is executive produced by Patrick MacManus and Kelly Funke, and produced by Littleton Road Productions, NBC News Studios, and Universal Content Productions.

Watch DEVIL IN DISGUISE: JOHN WAYNE GACY on Peacock and Apple TV in the United States and Canada.

26.01.28 – Rocket Science VFX returned to Rian Johnson’s mystery of the week series POKER FACE, once again tackling complex FX sequences, environments and crowd work, delivering over 500 shots for Season Two.

“Similar to the first season, versatility was key, we knew each episode would bring unique challenges to help support the story of each case as it unfolded. The RS team was excited to work with the Production VFX Supervisor Sam O’Hare and Associate Producer Cameron Angeli once again. Thank you for your trust and collaboration”, says Executive VFX Producer, Christa Tazzeo.

Effects work took center stage at the scene of a murder in the Florida funeral home sequence in episode two, where RSVFX elevated the intensity of the internal blaze with CG smoke and fire designed to build across the scene.

Multiple fire and smoke simulations were created, isolating regions within the 3D layout of the funeral home to control behavior. Each section—roof collapse, hallway fire, stairwell smoke—had tailored settings for color, density, and movement to enhance the narrative progression of destruction. Additional 2D practical elements from plates and library were utilized to achieve the realistic look.

A key priority was timing and control. Rocket Science VFX Supervisor, Kayden Anderson notes, “It was important that the smoke spread the right way with the right timing.” Long simulations were developed to establish the flow of smoke, and the final look was refined through a layered approach. “We ended up with a two layered approach so that we could have the thick, dense, rolling smoke and additional top layer that had more dispersion and a more diffused look,” says Anderson. “This broke up the overly defined shapes and added a lot more depth to the smoke and environment.”

CG falling embers were layered in to further the realism, along with exterior CG smoke and pyro effects for the full fireworks display as the funeral home meets its demise.

Episode 11 body bag moment was a major creative and technical lift for the RSVFX team. The brief called for replicating a cadaver in a plastic body bag, which would fill with a liquid that breaks down the body for disposal.

The bag and liquid were recreated fully CG across the sequence. Anderson explains, “We created a CG body with the plate photography reprojected for the body. There were multiple layers of simulation to get the right look and motion of the liquid in the bag.”

To help define the look, the team pulled references from an unexpected place. “We drew reference from the sous vide process of cooking,” says Anderson. “The liquid was a combination of a thick soap-like material with a sulfuric color to it. We also used some practical photography reference as a guide when designing the look of the bag.”

“The big challenge was getting accurate animation of the bag and liquid. There were a lot of time jumps in the cut that we had to find ways to reconcile. The combination of the bag filling, but also retracting was a tricky balance.”

Alongside the FX-heavy sequences, RSVFX delivered environment and set extension work across various locations, including the lakeside boathouse extensions.

Digital crowd support was called on to extend what was captured practically in the Alabama Cheesemongers minor league baseball sequence in episode five. The goal was to recreate a lively game atmosphere with subtle variations and movement across the field and stands, adding additional spectators where needed while keeping the scale connected to the plate photography supervised by the RS team on-set.

Attention was placed on behavior of the extras and continuity of the crowd. CG spectators were designed to react naturally to events in the scene, with wardrobe colors, specific props like flags, foam fingers and cheese hats, and movement patterns closely matched to the practical extras. This approach allowed transitions between live-action and CG elements to remain seamless.

From the creative mind of writer/director/producer of the hit movies KNIVES OUT and GLASS ONION, Rian Johnson, POKER FACE is a 10-episode mystery of the week series following Emmy nominated Natasha Lyonne’s Charlie Cale, who has the extraordinary ability to determine when someone is lying. She hits the road in her Plymouth Barracuda and with every story encounters a new cast of characters and strange crimes she can’t help but solve.

POKER FACE is produced by T-Street, MRC and Animal Pictures and is distributed by Paramount Global Content Distribution. Nora and Lilla Zuckerman serve as Showrunners and Executive Producers. Other Executive Producers include Ram Bergman, Nena Rodrigue and Iain B. MacDonald, alongside Maya Rudolph and Danielle Renfrew Behrens as Co-Executive Producers.

Watch POKER FACE season 1 and 2 on CBC Gem in Canada and Peacock in the US.

25.12.02 – Emmy nominated boutique visual effects studio Rocket Science VFX RSVFX delivered 200+ heroic battle shots in the Jason Momoa starring historical drama miniseries CHIEF OF WAR (Apple TV+).

“The team at Rocket Science completely knocked it out of the park. They brought great ideas to the table, explored creative options and executed with precision through intricate fight scenes,” says Chris Scollard, Production VFX Supervisor.

Co-created by Momoa and Thomas Paʻa Sibbett, CHIEF OF WAR unfolds in the early 19th century, as the Hawaiian Islands were caught between war and the dream of unification to save them from the threat of colonization. Ka’iana (Momoa), a noble returns home and becomes drawn into Kamehameha I’s campaign to unite islands.

Guided by VFX Supervisor, Adam Jewett and VFX Producer Kayden Anderson, the RSVFX team helped bring this world to life through a blend of environment building and large-scale battle visual effects that grounded the story’s spectacle in realism.

The epic battle sequences take place on a mirage of volcanic rock which plays a pivotal role in honoring the story.

“The volcanic ground, captured on location in Hawai’i, presented unique characteristics as a result of volcanic events reshaping the rock over millions of years. While certain angles show lava rock that is thousands of years old, other angles showcase the newer rock. For continuity, we crafted these sequences using a mix of digital matte paintings with placed CG rock assets, and per shot custom ground sculpts to extend the volcanic landscapes,“ says Jewett.

As the volcanic environments set the stage, the choreography of combat demanded just as much attention—especially the role that blood played in shaping the sequence. Blood was central to the tone and choreography of the battle. The team approached it with a hybrid 2D/3D workflow—using CG blood for bespoke effects paired with 2D elements for weapon hits and impacts.

“We had to treat the blood as its own characteristic,” says Jewett. “This sequence in particular needed to feel more gory than the rest, we needed to ramp up the action.”

The blood became part of the visual storytelling—used to emphasize movement, impact, and emotion. Each shot required careful tracking to match the camera and actor’s choreography, with the team relying on speed-ramping and plate adjustments to maintain continuity and rhythm between cuts.

The layered 2D/3D approach helped shape the emotional flow of the fight, turning each burst of blood into part of the scene’s movement and energy.

“We had to customize nearly every shot to match what appeared in the plate and the actors’ choreography,” says Jewett. “Many of the weapons involved extensions as well as adjustments in frame to get them to work with the stunt performances, bringing them close enough for contact.”

These sequences demanded intricate compositing and close collaboration between departments to ensure every impact aligned with the narrative’s intensity.

“It was a pleasure to work with Chris (Scollard) and Bill (Halliday), on this momentous show. Thank you for the trust and collaboration. The team was energized with your leadership and creativity,” says Christa Tazzeo, Executive VFX Producer.

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.