France’s VFX workforce has grown by leaps and bounds over the past three years, with much credit due to a 10% across-the-board tax rebate bonus for international productions that spend more than $2.1 million with local digital outfits.
Of course, the fact that American studios could also benefit from the full 40% tax rebate wholly on post-production expenditures has only helped matters further, affording top-trained talent the chance to stay in France, proving their mettle on lavish blockbusters shot elsewhere.
The local VFX industry is “no longer viewed in the same way,” says the Yard founder and CEO Laurens Ehrmann. “Today, we get more work by word-of-mouth, as producers and editors pass along our name. Whereas before productions might spend the $2.1 million just to take advantage of the full tax credit, today productions that have never shot in France come to us directly” with much more substantial VFX buys.
Indeed, work on...
Of course, the fact that American studios could also benefit from the full 40% tax rebate wholly on post-production expenditures has only helped matters further, affording top-trained talent the chance to stay in France, proving their mettle on lavish blockbusters shot elsewhere.
The local VFX industry is “no longer viewed in the same way,” says the Yard founder and CEO Laurens Ehrmann. “Today, we get more work by word-of-mouth, as producers and editors pass along our name. Whereas before productions might spend the $2.1 million just to take advantage of the full tax credit, today productions that have never shot in France come to us directly” with much more substantial VFX buys.
Indeed, work on...
- 10/29/2023
- by Ben Croll
- Variety Film + TV
VFX powerhouse MacGuff is using its proprietary tools Face Engine and the new Face Creative Engine, in conjunction with traditional CGI, on a slew of French and international projects for streamers and French broadcasters.
France is one of the world’s biggest VFX hubs, leveraged by its Trip scheme, that enables foreign shoots to tap into a 40 cash rebate on all eligible expenses – including expenses for live action that are not VFX related – for international projects whose VFX expenses surpass €2 million (2.16 million) spent in France.
Philippe Sonrier, MacGuff’s co-founder and joint director, says that the studio is seeing rising demand from streamers. The studio has 70 staff, but plans to grow to around 120 in 2023, due to rising demand.
For Netflix, MacGuff is providing VFX work on three series, including Season 3 of “Lupin,” having worked on Seasons 1 and 2. “Wonderman” is about the life of French empresario Bernard Tapie, in which the studio uses de-ageing tools.
France is one of the world’s biggest VFX hubs, leveraged by its Trip scheme, that enables foreign shoots to tap into a 40 cash rebate on all eligible expenses – including expenses for live action that are not VFX related – for international projects whose VFX expenses surpass €2 million (2.16 million) spent in France.
Philippe Sonrier, MacGuff’s co-founder and joint director, says that the studio is seeing rising demand from streamers. The studio has 70 staff, but plans to grow to around 120 in 2023, due to rising demand.
For Netflix, MacGuff is providing VFX work on three series, including Season 3 of “Lupin,” having worked on Seasons 1 and 2. “Wonderman” is about the life of French empresario Bernard Tapie, in which the studio uses de-ageing tools.
- 1/16/2023
- by Martin Dale
- Variety Film + TV
French VFX powerhouse MacGuff – with headquarters in Paris and offices in L.A. – is using proprietary artificial intelligence tools, in particular Face Engine and Body Engine, in a broad range of VFX projects.
Current projects in the pipeline include Season 2 of “Lupin” for Netflix, “Hôtel du temps” for France Télévisions, and Christian Carion’s “Une belle course,” starring Dany Boon. The studio also used AI tools in Éric Rochant’s political thriller series “The Bureau.”
“Hôtel du temps” is a perfect example of the power of Face Engine since it brings historic figures back to life, such as late actor Jean Gabin and Princess Diana, to be interviewed by hard-hitting French journalist Thierry Ardisson.
MacGuff has an in-house R&d department that has been developing proprietary AI tools by mixing open-source software with proprietary code. The AI developments are being overseen by co-founder and joint director Rodolphe Chabrier and MacGuff...
Current projects in the pipeline include Season 2 of “Lupin” for Netflix, “Hôtel du temps” for France Télévisions, and Christian Carion’s “Une belle course,” starring Dany Boon. The studio also used AI tools in Éric Rochant’s political thriller series “The Bureau.”
“Hôtel du temps” is a perfect example of the power of Face Engine since it brings historic figures back to life, such as late actor Jean Gabin and Princess Diana, to be interviewed by hard-hitting French journalist Thierry Ardisson.
MacGuff has an in-house R&d department that has been developing proprietary AI tools by mixing open-source software with proprietary code. The AI developments are being overseen by co-founder and joint director Rodolphe Chabrier and MacGuff...
- 1/23/2022
- by Martin Dale
- Variety Film + TV
Awards season keeps ticking right along, but tonight’s Cinema Eye Honors promised at least a tiny respite from narrative-based filmmaking, as the New York City-set ceremony is all about honoring the best in the year’s documentary filmmaking.
Big winners included Kirsten Johnson’s “Cameraperson,” which picked up Outstanding Achievement in Nonfiction Feature Filmmaking, along with editing and cinematography wins. Right behind it was Ezra Edelman’s “O.J.: Made in America,” which earned Edelman a directing win, along with a production win for Edelman and Caroline Waterlow. Best TV offering went to “Making a Murderer.”
Nominations were lead by Raoul Peck’s “I Am Not Your Negro” and “O.J.: Made in America,” which each pulled in five nominations apiece, though Johnson’s “Cameraperson” and Gianfranco Rosi’s “Fire at Sea” aren’t far behind, with four nominations each. Both Peck and Rosi’s features ultimately walked away without an award.
Big winners included Kirsten Johnson’s “Cameraperson,” which picked up Outstanding Achievement in Nonfiction Feature Filmmaking, along with editing and cinematography wins. Right behind it was Ezra Edelman’s “O.J.: Made in America,” which earned Edelman a directing win, along with a production win for Edelman and Caroline Waterlow. Best TV offering went to “Making a Murderer.”
Nominations were lead by Raoul Peck’s “I Am Not Your Negro” and “O.J.: Made in America,” which each pulled in five nominations apiece, though Johnson’s “Cameraperson” and Gianfranco Rosi’s “Fire at Sea” aren’t far behind, with four nominations each. Both Peck and Rosi’s features ultimately walked away without an award.
- 1/12/2017
- by Kate Erbland
- Indiewire
The nominees for the 10th annual Cinema Eye Honors have been announced, with “I Am Not Your Negro” and “Oj: Made in America” both receiving five each. They’re followed in short order by “Cameraperson” and “Fire at Sea,” which along with “Weiner” are all in contention for the top prize. A total of 37 features and five shorts will be in contention at the upcoming ceremony, which “Hoop Dreams” director Steve James will host from the Museum of the Moving Image on January 11. Here’s the full list of nominees:
Outstanding Achievement in Nonfiction Feature Filmmaking
“Cameraperson” (Kirsten Johnson)
“Fire at Sea” (Gianfranco Rosi)
“I Am Not Your Negro” (Raoul Peck)
“Oj: Made in America” (Ezra Edelman)
“Weiner” (Josh Kriegman and Elyse Steinberg)
Outstanding Achievement in Direction
Kirsten Johnson, “Cameraperson”
Gianfranco Rosi, “Fire at Sea”
Raoul Peck, “I Am Not Your Negro”
Robert Greene, “Kate Plays Christine”
Ezra Edelman, “Oj:...
Outstanding Achievement in Nonfiction Feature Filmmaking
“Cameraperson” (Kirsten Johnson)
“Fire at Sea” (Gianfranco Rosi)
“I Am Not Your Negro” (Raoul Peck)
“Oj: Made in America” (Ezra Edelman)
“Weiner” (Josh Kriegman and Elyse Steinberg)
Outstanding Achievement in Direction
Kirsten Johnson, “Cameraperson”
Gianfranco Rosi, “Fire at Sea”
Raoul Peck, “I Am Not Your Negro”
Robert Greene, “Kate Plays Christine”
Ezra Edelman, “Oj:...
- 11/2/2016
- by Michael Nordine
- Indiewire
Owen Suskind, the star of “Life, Animated,” is one of the more fascinating and endearing documentary subjects you will come across. Owen, who is autistic, was unable to speak as a child until he and his family discovered an unique way to communicate by immersing themselves in the world of classic Disney animated films. It’s a story that was captured in a book written by Owen’s father Ron, who is a Pulitzer Prize-winning journalist.
When director Roger Ross Williams met the Suskinds he was instantly drawn to the family, but he wasn’t interested in making a documentary that looked backwards and retold their amazing story. Williams wanted to find a way to use the tools of cinema to bring the audience into Owen’s world and allow viewers to relate to him on a very human and emotional level. IndieWire recently interviewed Williams about this process of...
When director Roger Ross Williams met the Suskinds he was instantly drawn to the family, but he wasn’t interested in making a documentary that looked backwards and retold their amazing story. Williams wanted to find a way to use the tools of cinema to bring the audience into Owen’s world and allow viewers to relate to him on a very human and emotional level. IndieWire recently interviewed Williams about this process of...
- 7/11/2016
- by Chris O'Falt
- Indiewire
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