VFX for TV series
Episodic VFX brings its worlds back episode after episode. We build them once and use them again, bid every episode shot by shot and re-plan when the scripts change.
You need VFX figures per episode and for the season, starting from the first scripts.
You already have a season VFX budget and want to check it against the scripts, episode by episode.
A season means more scripts, more shots and more dates. This is how we keep them in line:
UMP: omit a shot or move it from 3D to 2D, and its price comes off the bid at once.
Each episode is bid shot by shot, not at a flat rate. When a script is rewritten, you see what changed in the episode and in the season.
Every shot of every episode runs through our own tracking system: status, versions, delivery dates. The season stays under control.
UMP: the planner levels the team, so fewer people carry the work by the same date.
Our planner lays out the team across the season around your delivery dates, and re-plans when episodes or scope change.
UMP: the asset is built once for the season, so later episodes cost less.
Returning environments, creatures and set extensions are built once for the season, so later episodes cost less.
The breakdown and the budget per episode and for the whole season.
Returning environments, creatures and set extensions planned as assets from the first episode.
Which shots have to be ready first, so no episode waits for its effects.
Key scenes as pictures for the showrunner, the director and the platform.
| Asset | Ep 1 | Ep 2 | Ep 3 | Ep 4 | Ep 5 | Ep 6 |
|---|---|---|---|---|---|---|
| Castle environment | ||||||
| Creature | ||||||
| City set extension | ||||||
| Storm FX |
The breakdown and the budget per episode and for the whole season.
Per episode, it depends on the shots. Across a season, on what is built once and used again. These are the things that move the figure:
How many VFX shots each episode has, and how complex they are.
Returning environments, creatures and set extensions are built once and used again.
2D, 3D, matte painting or comp, chosen shot by shot, episode by episode.
A rewritten episode is re-bid shot by shot, so you see what changed.
Episode delivery dates shape the team across the season.
How many shoot days need VFX supervision and data capture.
You get a budget per episode and for the season. Send your scripts.
It depends on the episodes and their dates, so we plan the schedule per episode and for the season. These are the things that move it:
Each episode has its own delivery date, so shots are planned episode by episode.
Returning worlds built early are ready when later episodes need them.
Work starts as scripts arrive and as each episode's cut and plates are handed over.
The number and complexity of VFX shots in each episode set its workload.
The team is planned across the season and re-planned when episodes change.
Status, versions and delivery dates of every shot are tracked in our own system.
You get a schedule per episode and for the season. Send your scripts.
A breakdown and a budget per episode.
Returning worlds built once, early.
Assets used again, every shot tracked.
The bid and the plan follow it.
Each episode planned to its own date.
We deliver feature films end to end. Work with us once, and you won't need to look elsewhere: we solve the hard problems and answer the hardest questions.
Best Special Effects, Golden Dzyga 2026.
Watch the trailerIf your project requires an NDA, we'll gladly sign it. Either way, your material stays protected: only our core team sees it, and every member is bound by a strict NDA that forbids sharing any information received from third parties. Neither we nor they share anything about your request.
Per episode, it depends on the number and complexity of the shots; across a season, on what is built once and used again. Environments, creatures and set extensions that return are planned as assets from the first episode.
It depends on the delivery date of each episode, the assets built early, when the scripts and plates arrive, the number of shots per episode and the team across the season. We plan the schedule per episode and for the season.
Yes. Send one script or the whole season; the breakdown and the plan grow as the next scripts arrive.
In our own tracking system: every shot has its status, versions and delivery date, so the season budget and the schedule stay under control.
The bid and the plan follow the script: shots are added or omitted, the schedule and the team are re-planned, and you see what changed in the budget.
2D, 3D, matte painting and compositing, chosen shot by shot, episode by episode.
If your project requires an NDA, we'll gladly sign it. Either way, your material stays protected: only our core team sees it, and every member is bound by a strict NDA that forbids sharing any information received from third parties. Neither we nor they share anything about your request.