It’s been brutal in the UK vfx industry over recent months with many storied companies going to the wall. But there’s now a slight sense of optimism with work trickling back and new opportunities ahead. Michael Burns reports
The UK’s visual effects industry is no stranger to cyclical fortunes, but few periods have been as bruising as the recent past. VFX firms are now navigating a complex mix of cautious optimism, persistent challenges, and opportunities for diversification.
At Framestore, the mood is “reasonably buoyant,” according to CEO of Film and Episodic Fiona Walkinshaw. “We’ve just delivered some huge films, and we have others that are just starting to gear up – major projects featuring scripts we love, led by creatives we couldn’t be more excited to partner with.”
Recent credits include How To Train Your Dragon and F1, both of which “pushed the company creatively and technically”. Upcoming work includes The Fantastic Four: First Steps and James Gunn’s Superman.
At Cinesite, a recent investment package of $215 million has “injected a strong sense of confidence and stability”, and teams feel “ready to capitalise on new opportunities and continue delivering high-quality work,” says Executive VFX Producer Sara Rust.
The mood is also upbeat at Freefolk, following a varied slate of creative work across commercials, TV, and film. Vittorio Giannini, Director of Business Development & Strategy, notes that while infrastructure, resourcing, and client relations are in a good place, “the key challenge is to maintain optimism and positivity in a volatile trading environment.”
At Jam VFX, a merger with No. 8 has created a more resilient combined facility, one three times larger in terms of VFX capacity.
“No.8 already included grading and sound,” says Executive Producer Jordan Andreopoulos. “As Jam, we specialised in VFX… but now we can handle more of the workflow – sound, grade, VFX – especially for independent features. Our artists were getting pulled in so many directions. Having a bigger team allows them to hone in on projects and get the best creative out of them, rather than feeling constantly stretched.”
“We’ve built trust working on shows like Baby Reindeer, Black Mirror, and We Live in Time – that’s what’s allowed us to grow,” says Evren Olgun, Head of Film & TV/Director, No.8.
Union has recently delivered high-profile work on Black Mirror: USS Callister – Into Infinity and 28 Years Later, projects that showcased its CG capabilities and helped strengthen the team. Co-founder Tim Caplan describes the outlook as “fortunate and optimistic,” as the studio enters a quieter spell but with “a lot bubbling away.”
Unit is “definitely seeing an uptick” says Siôn Penny, Head of Scripted Online and VFX – “Mobland, Stags and Mountainhead are great examples of the creative and technical value we bring to projects.”
“It’s a great time for mid-sized independent studios,” says Nuno Pereira, Head of 3D and VFX Supervisor at Unit. “While big VFX productions remain strong, the appetite for smaller scope and more contained VFX is increasing as streaming production budgets come under immense pressure.”
Michael Burns
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