VFX DNEG's detailed VFX breakdown of 'Godzilla' is a treat to watch, features Ajanta and Ellora -

DNEG’s detailed VFX breakdown of ‘Godzilla’ is a treat to watch, features Ajanta and Ellora

The age-old story of the the rise and fall of economy is now being written by a virus. World is dealing with a deadly enemy that has brought the industry to its knees. In times like these, industry aspirants and experts are already finding ways to upskill in order to emerge stronger when the ecosystem regains resumption.

VFX breakdowns are indeed making for a great source of education to the folks who are interested in learning the art and craft of the industry. DNEG’s recent breakdown of Godzilla is an elaborate and step-by-step explanation of the humongous task of building images as per the vision of the filmmaker.


Go behind the scenes of the iconic sunken city in Godzilla: King of the Monsters :-


Our talented Environment team gives you an inside look at how they created the ancient city, the inspiration they drew from and more in our new ‘Godzilla: King of the Monsters’ Environment VFX Breakdown. 


We had a lot raining debris that was intricate and complicated from a visual effects standpoint. We did a lot of development work to make sure we had a system in place that could drive effects destruction based off of the creature movements.

DNEG produced vignettes where Secondary Titans, such as the massive mammoth known as Behemoth, make appearances.  DNEG did about 150 VFX shots over 13 sequences. DNEG’s VFX Supervisor Brian Connor (The MegWonder Woman) supervised the process which was mainly done in Vancouver, with some aid from their team in Mumbai.

DNEG did the vignettes of the titans awakening around the world, with the art department providing the basic designs for all the titans and DNEG then working on model, texture and rigging the characters. While DNEG has a clear idea of how the characters would be seen in their shots, they made sure the various titans worked from all angles as DNEG provided these back to MPC for use in the third act of the film.