This article contains promotional content .(November 2019) |
Industry | |
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Founded | 1986 |
Founders |
|
Headquarters | Chancery Lane, London, England |
Number of locations | 7 |
Key people | William Sargent (Chairman) Mel Sullivan (CEO) Fiona Walkinshaw (CEO, Film & Episodic) Charles Howell (President, Global Advertising & Content) |
Products | Visual effects Post-production |
Subsidiaries | Company 3 Method Studios |
Website | framestore |
Framestore is a British visual effects and computer animation studio based on Chancery Lane in London, England. [1] [2] The company was founded in 1986. Framestore specializes in visual effects for film and prestige TV, advertising, rides, and immersive experiences. It is the largest production house in Europe, employing roughly 3,000 staff, including 1,000 in London, and 1,500 across studios in Chicago, New York, Los Angeles, Montreal, Melbourne and Mumbai. [3] [4] [5] [6]
Framestore was founded in 1986 by William Sargent and Sharon Reed, together with three friends. [7] Tim Webber joined Framestore in 1988 and led the company's push into digital film and television, developing Framestore's virtual camera and motion rig systems. In 1992, Mike Milne started the CGI department, adding computer-generated imagery animation to the company's range of facilities. [8]
In 1997, Framestore acquired the Computer Film Company, which was one of the UK's first digital film visual effects companies, developing technology for digital film scanning, compositing, and output. CFC was founded in London in 1984 by Mike Boudry, Wolfgang Lempp (now CTO at Filmlight) and Neil Harris (Lightworks). CFC's first film was The Fruit Machine , in 1988, which utilised early morphing techniques. [9]
In 2004, Framestore opened their first satellite office in New York City, to focus on advertising. [10] This was followed by another office in Iceland in 2008, which has since been closed and has reopened as a local VFX company, RVX. [11] In 2013 Framestore opened an office in Montreal, followed by another in Los Angeles the same year. [12] [13] [14] In 2014, it launched a production arm. [15]
Early projects for the company include the delivery of its first feature animation project The Tale of Despereaux with Universal; [16] the completion of Europe's first digital intermediate for the film Chicken Run in 2000; [17] contribution of scenes for the 2009 film Avatar , [18] and the completion as a production project of four British feature films which opened in theaters between during 2009 and 2010. [19]
In November 2016, Framestore agreed to let the Shanghai-based Cultural Investment Holdings Co acquire 75% of it for £112.50 million. [20] The company worked on projects such as Fantastic Beasts and Where to Find Them , Beauty and the Beast , and Paddington 2. [21] In April 2017, Framestore announced that they had opened a third US location, in Chicago, Illinois. [22]
The company also worked on the 2017 film Darkest Hour directed by Joe Wright, working out of the Montreal facility of Framestore to create historically accurate backdrops for 85 shots in the film, including battle scenes. [23]
The team created around 300 shots for the 2017 film Blade Runner 2049 , with Framestore winning a special visual effects award at the 2018 British Academy Film Awards. [24] They have also worked on Black Mirror , creating props such as the 60s-style spaceship in the premiere of the fourth season. [25]
In November 2020, Framestore announced that they've acquired Deluxe's former creative assets including Method Studios and Company 3 to expand their VFX and post-production landscapes. [26]
Framestore has been awarded two Scientific and Technical Academy Awards, and 14 Primetime Emmys. In 2008, Framestore won their first Academy Award for Best Visual Effects for the film The Golden Compass ; they also won the BAFTA Award for that film the same year. Framestore was also nominated for Academy Awards in 2009 ( The Dark Knight ) [27] and again in 2010 ( Harry Potter and the Deathly Hallows – Part 1 ). [28]
Tim Webber was the VFX supervisor on Gravity (2013), and the techniques involved in the film realised by Webber and the Framestore team took three years to complete. [29] The team won the Best Visual Effects awards BAFTA Award for Best Special Visual Effects at the 67th British Academy Film Awards, and the Academy Award for Best Visual Effects award at the 86th Academy Awards. [30]
The company then won both the Academy Award [31] and BAFTA [32] for Best Visual Effects in 2018 for its work on Blade Runner 2049.
In advertising the team has also won major awards including Cannes Lions, British Television Advertising Awards, Clios, D&AD and others. [33]
The company's R&D team spin off to create the technology company Filmlight, which in 2010 received four Scientific Academy Awards. [34]
Framestore won the 2020 BAFTA TV Craft Awards for Special, Visual & Graphic Effects for its extensive work on the HBO / BBC series His Dark Materials (TV series). [35]
Framestore has collaborated with companies and advertising agencies to create trade characters, and also created an attempted photorealistic computer-generated Audrey Hepburn for a Galaxy chocolate advert. [36] A combination of elements including body doubles, motion-capture, FACS and the rendering software Arnold were used to mimic the appearance of the actress 20 years after her death. The advert drew press attention both for the cutting-edge technology utilized and the ethical implications of using a person's likeness posthumously for commercial purposes. [37] [38] [39]
Wētā FX, formerly known as Weta Digital, is a New Zealand–based digital visual effects and animation company based in Miramar, Wellington. It was founded by Peter Jackson, Richard Taylor, and Jamie Selkirk in 1993 to produce the digital special effects for Heavenly Creatures. The company went on to produce some of the highest-grossing films ever made, such as the Lord of the Rings trilogy and the Avatar series. Considered one of the most influential film companies of the 21st century, Wētā FX has won several Academy Awards and BAFTAs. The company is named after the New Zealand wētā, one of the world's largest insects, which was historically featured in the company logo.
Animal Logic is an Australian visual effects and animation digital studio based at Disney Studios in Sydney, New South Wales in Australia, Vancouver in Canada, and Rideback Ranch in Los Angeles, California. Established in 1991, Animal Logic has produced visual effects and animation for feature films such as the Academy Award-winning Happy Feet, Legend of the Guardians: The Owls of Ga'Hoole, Walking with Dinosaurs 3D,The Lego Movie and Peter Rabbit. The company was also recognized for its work as lead visual effects vendor on Baz Luhrmann's The Great Gatsby, which won Outstanding Achievement in Visual Effects at the 3rd AACTA Awards ceremony. In 2018, Peter Rabbit was presented with a range of accolades, including the AACTA Award for Best Visual Effects or Animation, and Australian Production Design Guild Awards (APDG) in Visual Effects Design and Drawing, Concept Illustration & Concept Models for Screen. Most recently, the company has produced work for the Warner Animation Group's The Lego Movie 2: The Second Part and Marvel Studios' Captain Marvel. It is a subsidiary of Netflix.
Technicolor Creative Studios UK Limited, doing business as The Mill, is a British VFX production company and creative studio headquartered in London, England, with three offices in the United States, three others in Europe and three in Asia. It is owned by Technicolor Group. The Mill produces real-time visual effects, animation, moving images, design, experiential, and digital projects for the advertising, games, and music industries.
DNEG is a British-Indian visual effects, computer animation and 3-D conversion studio that was founded in 1998 in London, and rebranded as DNEG in 2014 after a merger with Indian VFX company Prime Focus; it was named after the letters "D" and "Neg" from their former name.
BUF Compagnie is a French visual effects company, specializing in CGI for feature films, commercials, and music videos.
Cinesite is an independent, multinational business which provides services to the media and entertainment industries. Its head office in London opened for business in 1994, initially offering services in visual effects for film and television, subsequently expanding to include animation.
Escape Studios is a British visual effects academy situated and headquartered in North Greenwich, London, offering short courses and degrees at undergraduate and postgraduate level. Escape Studios' primary offering includes study programmes in Visual Effects (VFX), Game Art and Animation, with short courses available in Motion Graphics. Since the foundation of Escape Studios in 2002, more than 4,000 students have passed through its doors, moving into jobs in the animation and visual effects industries.
Craig Barron is an American visual effects artist and creative director at Magnopus, a media company that produces visual development and virtual production services for motion pictures, television, museums and multimedia platforms.
Method Studios is a visual effects company launched in 1999 in Los Angeles, California with facilities in New York, Atlanta, Vancouver, San Francisco, Melbourne, Montreal, and Pune. The company provides production and post-production services including conceptual design, look development, on-set supervision, 3D animation/CGI, matte painting, AR/VR, compositing and finishing.
Gregory S. Butler is an Academy Award-winning American visual effects supervisor. He graduated from Suffield High School in 1989 and afterwards entered Hampshire College. Despite his initial plans to study history, a work-study job with the audiovisual equipment in the library made him interested in film production. Butler graduated in 1993 with a major in film, television and theater design. Afterwards he moved to California to work for Industrial Light and Magic for 9 months, where after intern work he managed to become an assistant in the effects department, starting with assistant credits in The Mask and Forrest Gump. Following a job at Rocket Science Games until the company's bankruptcy in 1996, Butler went to Tippett Studio and did effects work in Starship Troopers and My Favorite Martian, rising up to a technical director job, and Cinesite for Practical Magic. While reluctant at the requirement of moving to New Zealand, Butler was convinced by his writer-actor brother to jump at the opportunity of working for Weta Digital in The Lord of the Rings. Among his achievements was working on the creation of Gollum. for which he was awarded a Visual Effects Society Award.
John Nelson is an American visual effects supervisor. He has won two Academy Awards for Best Visual Effects for his work on the film Gladiator (2000) and Blade Runner 2049 (2017). He has also been nominated for I, Robot (2004) and Iron Man (2008).
SilhouetteFX began as a rotoscoping tool for the visual effects industry. SilhouetteFX has been expanded to include capabilities facilitating paint, warping and morphing, 2D to 3D conversion and alternative matting methods. As of V6, SilhouetteFX retains all of the aforementioned capabilities now embedded in a node-based digital compositing application.
Paul J. Franklin is an English visual effects supervisor who has worked with visual effects since the 1990s. Franklin won the Academy Award for Best Visual Effects and the BAFTA Award for Best Special Visual Effects for Inception (2010), and won a second Academy Award for Best Visual Effects for Interstellar (2014). He shared the wins with Andrew Lockley, Peter Bebb, and Chris Corbould. Franklin has also been nominated for an Academy Award for The Dark Knight (2008). He was nominated for BAFTA Awards for Batman Begins, The Dark Knight (2008), and The Dark Knight Rises (2012).
Tim Webber is a Welsh visual effects supervisor and is chief creative officer at visual effects studio Framestore. He is known for his work on Harry Potter and the Goblet of Fire (2005), The Dark Knight (2008), Children of Men (2006), and Gravity (2013), for which he received an Academy Award for Best Visual Effects at the 86th Academy Awards.
Chris Lawrence is a visual effects supervisor. Lawrence and his fellow visual effects artists received an Academy Award for Best Visual Effects for the 2013 film, Gravity. In 2016, Lawrence received his second Academy Award nomination for his work on the film, The Martian, at the 88th Academy Awards. In 2018, he received his third Academy Award nomination for his work on the film, Christopher Robin, at the 91st Academy Awards, and received his fourth nomination in 2021, at the 93rd Academy Awards for the 2020 Netflix film The Midnight Sky. He is the eldest son and heir apparent of Sir Henry Lawrence, 7th Baronet of Lucknow.
Namit Malhotra is an Indian film and television producer and a business executive. He is the founder and non-executive director of Indian visual and special effects company Prime Focus Limited, the world's largest independent integrated media services company, and the chief executive officer of its British-Indian subsidiary DNEG which specializes in visual effects, animation and stereo conversion.
Rodeo FX is a high-end visual effects and creative company offering services in visual effects, advertising, animation, and experiential. The company currently has studios in Montreal, Quebec City, Toronto, Vancouver, Paris and Los Angeles.
Sara Bennett is a British visual effects artist who won a 2016 Academy Award for the best visual effects in the film Ex-Machina. She is a co-founder of Milk, a visual effects studio headquartered in London.
The Moving Picture Company (MPC) is a British multinational company providing visual effects, CG, animation, motion design and other services for the film, TV, brand experience and advertising industries.
Christian Manz is a British visual effects artist. He was nominated for an Academy Award in the category Best Visual Effects for the film Harry Potter and the Deathly Hallows – Part 1. He has also been nominated for three British Academy Film Awards. He is represented by the visual effects studio, Framestore, where he also serves as a creative director in the film division.