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Saw III
When VFX industry veterans Jon Campfens and Peter Denomme founded Switch VFX in early 2004, the idea was to escape the big-facility environment and start a boutique that they could believe in. (Campfens had worked at Canadian giant GVFX, and Denomme was running Calibre Digital Pictures, which was part of Alliance Atlantis.) They didn’t count on being the go-to guys for high-impact horror movies, but as it happens some of their best gigs have come from the genre — George A. Romero’s Land of the Dead last year, James Gunn’s tongue-in-cheek monster movie Slither earlier this year, and now the box-office behemoth Saw III.
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Land of the Dead
The world is full of zombies and the survivors have barricaded themselves inside a walled city to keep out the living dead. As the wealthy hide out in skyscrapers and chaos rules the streets, the rest of the survivors must find a way to stop the evolving zombies from breaking into the city. Directed by legendary director George Romero and produced by Universal Pictures. VFX Producer Lynn Gephart. 155 shots including matte paintings, green screen compositing, Blood and Guns shot enhancements.
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Anonymous Rex
Toronto-based Switch VFX, a visual effects studio specializing in photorealistic effects and CG character creation for feature films and television, marked its first anniversary in February. Switch VFX recently completed visual effects work on the Fox/Sci Fi Channel series pilot ANONYMOUS REX and on the GalaFilm Prods. TV movie TRIPPING THE WIRE, as well as title design for the CBC miniseries WHISKEY ECHO.
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The Pit and the Pendulum
Lougee enlisted the company Switch VFX from Toronto, Canada, during the preliminary development stage. Jon Campfens, Co-founder and VFX Supervisor at Switch, was impressed when he heard what Lougee intended to do. “We felt we really had to be part of this film. I am a big fan of stop motion animation and with the recent resurgence of this art form I knew that Marc would be able to bring a real visual style and be faithful to the poem”. Jon was brought on board as the VFX Supervisor and to help with technical requirements that might be needed in shooting the film.
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