BEST VFX WE MAKE ANY VISION A REALITY
With studios in 10 global locations, MPC has been a leader in VFX & Animation in the film & TV industry for more than 45 years.
TIME TRAVEL 66 MILLION YEARS
We’re the people behind the effects in countless blockbusters like Prehistoric Planet, NOPE, 1917, The Lion King and House of the Dragon, crafting everything from lifelike fur to dynamic crowd scenes, to larger-than-life destruction sequences.
The Apple TV+ natural history show Prehistoric Planet marked a milestone in photorealistic VFX for factual television. MPC, famed for their work on The Lion King and The Jungle Book, created the VFX. Hollywood supremo Jon Favreau executive produced alongside Mike Gunton from BBC Studios NHU
Our teams operate in a culture of innovation, collaboration and co-creation and benefit from sharing ideas from different global perspectives.
We have become a true creative partner, working with filmmakers and showrunners from pitch to final delivery, building worlds, shaping characters and creating the spectacular scenes that make films and series truly breathtaking.
“The VFX takes you through a time portal to see a world that doesn’t exist any more,” says Mike Gunton, Prehistoric Planet’s exec producer from BBC Studios NHU. “The vision is how could you make planet earth 66 million years ago. Rather than doing a dinosaur show, its about what would the world look like.” The five 40-minute episodes, which launched across five evenings at the end of May this year, each present a different habitat: forests, deserts, ice worlds, freshwater and coasts.
MPC’s involvement was pivotal. Co-executive producer Jon Favreau had worked with MPC on Disney’s The Jungle Book and The Lion King. On Lion King’s journey to bring
animal characters to life, BBC Studios’ Planet Earth became the team’s Rosetta stone for reference. The VFX on Prehistoric Planet are “shoulder to shoulder with the best in any movie,” says Gunton.
He describes “a fascinating exchange of approaches between the VFX artists and the natural history filmmakers.” Each learnt from the other. “You could do many more extraordinary things with the VFX, but we deliberately didn’t. If you’re making a Marvel Universe, you can put a camera in a million places, in the real world you can put it in only one place.” The approach was to think, “If you were filming that animal where would
We challenge the boundaries of creativity as collaborators in the film-making process to bring your vision to life
www.mpcvfx.com BD 28
televisual-bulldogs.com
Page 1 |
Page 2 |
Page 3 |
Page 4 |
Page 5 |
Page 6 |
Page 7 |
Page 8 |
Page 9 |
Page 10 |
Page 11 |
Page 12 |
Page 13 |
Page 14 |
Page 15 |
Page 16 |
Page 17 |
Page 18 |
Page 19 |
Page 20 |
Page 21 |
Page 22 |
Page 23 |
Page 24 |
Page 25 |
Page 26 |
Page 27 |
Page 28 |
Page 29 |
Page 30 |
Page 31 |
Page 32 |
Page 33 |
Page 34 |
Page 35 |
Page 36
