EMPOWERING YOUR CREATIVITY Gold Standard VFX
Rumble VFX is a small boutique VFX studio based in Central London with an enviable reputation for working on some of the very highest profile film and drama projects. The team use workstations for heavy-lifting VFX work and as an extension of their inhouse render farm and so demand reliable
high-performance machines. Technophile Co-Founder Tim Zaccheo (above) describes the company set-up, ethos and technology use.
About Rumble VFX
Rumble VFX is a boutique, independent visual effects studio that creates stunning visual effects for feature films and high-end episodic TV productions. The team’s credits include some of the best known films and drama shows of the last two decades.
Based in Central London, Rumble VFX was founded towards the end of 2019 by Tim Zaccheo, Max Wright, Joe Cork and Richard Costin. With complimentary skillsets, the four long time collaborators and colleagues manage every aspect of visual effects production, from the earliest conception and planning stages, through shoot supervision and the crafting and completion of all types and complexity of shots.
The founding team’s award-winning credits include: Gladiator, Dreamworks, 2000 - Oscar winner for Best Visual Effects Band of Brothers, HBO, 2001 - Emmy nominated for Outstanding Visual Effects Troy, Warner Bros. 2004 - VES nominated for Outstanding Supporting Visual Effects Britannia, Amazon Studios, 2017 - BAFTA nominated for Special, Visual and Graphic Effects
Since coming together as Rumble VFX, credits include: A Christmas Carol, BBC, 2019 Gangs of London, Sky Atlantic, 2020 Alien Worlds, Netflix, 2020 The Crown, Season 4, 2021 Netflix/Sony Pictures - Emmy nominated and BAFTA TV nominated for Special, Visual & Graphic Effects and VES winner, Gold Stick for Outstanding Visual Effects in a Photoreal Environment Sandman, DC Comics/Netflix, 2022 Pennyworth, Seasons 2 and 3, HBO/Epix, 2022 and in production Fate: The Winx Saga Season 2, Archery Pictures/Netflix, in production The Crown, Season 5, Netflix/Sony Pictures, in production
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“Max Wright and I had both worked together for many years at another facility and had collaborated with Joe Cork and Richard Costin on many projects. All four of us came together to create Rumble VFX in late 2019. The company was born out of the ambition to do things our way.
“VFX supervisors were keen to work with us, as they knew what we were capable of. This included the production team for The Crown, Season 4 which was one of our first projects. We’re now working on Season 5, as well as Season 3 of Pennyworth and Season 2 of Fate, The Winx Saga. I think across all the three shows we’ve delivered over 500 VFX shots to early June this year.
“We’ve been flat out with work from launch, even with the challenges of working remotely during Covid. In some respects, it still feels like a fledgling business as our first three years have been far from what we expected. The team was scattered to the winds and working remotely for most of the past two years. We weren’t initially able to build the permanent feeling infrastructure we might have liked but now feel settled in our new building.”
Keeping It Photoreal
“We manage the projects from our office and have up to 20 artists working with us, with over half permanently off site. We have one guy in Spain, another in Italy and one in Bangkok. We’ve been dealing with the production and supervising side ourselves, although the next stage is to bring someone in to help with production.
“VFX supervisors and producers often prefer the experience of working with a slightly smaller VFX facility. And with the four of us having been in this business a long time, we have amassed a considerable level of practical and applied knowledge and expertise working on very high-profile projects. We can quickly find solutions to almost any VFX challenge that’s thrown our way and find the best approach to working it out. We do pretty much everything except creature modelling.
“Because we don’t have an extended hierarchy the four of us deal directly with our clients and are also hands-on in the production of the work itself, personally managing small teams of trusted artists - in this way we can realise the ambitions of our clients in as direct and uncomplicated a manner as possible..
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