Knights End is a multifaceted creative studio. We make things up and then make them happen.
Dedicated to the art and craft of the moving image, whether film, commercial, video game or animation. We serve as contractors and outsourcers of visual effects, illustration, character and toy design, pixel artwork, sprite creation and other forms of still and animated artwork. Our primary focus is visual effects for film and television, and to that end have worked on nearly 50 features including
Teenage Mutant Ninja Turtles, Muppets, Iron Man, Star Trek, Guardians of the Galaxy, Captain America, Mad Max, etc. Our special joy is working on independent films with budgets of less than $2 million that most major effects studios ignore.
We got to work on this a little earlier in the year. The simple statement is that it'll be 100000% better than the live action movie was.
Always remember who you are…The four nations of the world once lived in harmony, with the Avatar, master of all four elements, keeping peace between them. Bu...
Always dig a shoutout. Our studio, Nexodus, did some great work on this video.
There is a trend of the more 'auteur' or stunt driven directors pushing the narrative that there are no VFX or digital manipulation in their films, when that is far from true.
“Everything that we shot is completely practical” said Mission: Impossible – Dead Reckoning Part 1 filmmaker Christopher McQuarrie...but it included 2500 VFX shots.
Nolan asserted that there was no CG used in Oppenheimer, and some incorrectly took that to mean there was no VFX at all rather than the several hundred it did include.
Top Gun: Maverick had 2400 VFX shots, including CG planes and cockpits.
(For context, Spider-Man: No Way Home included 2,500 VFX shots).
Sometimes studios issue directives that when it comes to marketing a film, “there will be no discussion of VFX. … We don’t want to overshadow the actors,” says one industry vet.
https://www.youtube.com/watch?v=jwWR9lgOpWAIm
Im sure we've all watched Film Riot from time to time, but Im really digging the old films how they did it series. No idea Melanie Griffith was actually mauled by a lion as a kid.
►Sign up to Lickd with our link for 14 days free stock music and 50% off your first mainstream chart track -- https://go.lickd.co/filmriotv5►Watch More Amaz...
Last September I spent a few weeks working on a bucket list franchise, but had to keep it under my fedora until it released. I signed the biggest, baddest NonDisclosure Agreement ever and then got to work on Indiana Jones and the Dial of Destiny. It wasnt a lot, around 20 blue screen and beauty shots in the archive and Tangier scenes. I didnt get my name in the credits, but considering my short time and being a subcontractor, I didnt expect it. I was happy that the company I did the work for, Onyx VFX, got more than just a company line and was able to credit their principles. (Usually on a feature that big the little companies get an "additional effects by" line with no individuals.)
Its been awhile since I was as excited as I was last night when I would see my shots onscreen and to top it off, it was a really fun movie.
Seeing how these masters worked 80 years ago to create photo real footage with paint and glass always amazes me.
Albert Whitlock provided several complex matte shots for Stanley Kramer's film "Ship of Fools" (1965). New Zealand-based matte historian Peter Cook, aka NZ...
Ive been working with the worker owned studio, Nexodus, for the past two years on some wonderful projects. Here is their breakdown on this past years hit, The Woman King.
Sony Pictures tapped NEXODUS to launch an in-house VFX team for the final 10 weeks of post-production on acclaimed feature film The Woman King. Starting out with just 30 shots, the NEXODUS team scaled up rapidly to complete 245 shots in the show’s final stretch.
Always a good day when you get a new screen credit. This one is from the new movie up on Netflix called 'White Noise' with Adam Driver and Greta Gerwig.
We spent a long stretch of last year working on this series and Ill admit it haunted my dreams. Brought to you by the same folks who created American Horror story, this show is going to disturb you....and its a true story.
From the Emmy award winning creator of American Crime Story comes Dahmer - Monster: the Jeffrey Dahmer Story. The series examines the gruesome and horrific t...
Spent a little time on this project several months ago, even got in a few 'Artsy' shots. Promises to be a strange and pretty film.
Based on the book by Don DeLillo, a film by Noah Baumbach, starring Adam Driver and Greta Gerwig, WHITE NOISE coming soon to select theaters and Netflix.At o...
Visual effects studios are struggling to keep up with the demands that companies like Marvel place on their budget and their artists.
I have a bucket list of franchises I want to work on before I retire (do art kids get to do that?). Star Trek is the top of that list. Several years ago I worked on the reboot (KAAAHN!) and figured that was as good as Id get. Then Orville came out, which was very ST Next Generation, and it made me realize I hadnt scratched the itch...then Discovery and Picard came out. I desperately wanted to work on them.
This fall the nerd gods heard my prayer and answered hard. I sub-subcontracted for a studio that gave me shots for Orville, Discovery AND Picard. I only got a few shots on Discovery, some holo displays and LCARS in the background of episode 7. Picard gave me a dozen shots split between episodes 9 and 10. If you saw a gunshot or phaser blast at Chateau Picard in episode 9 it was likely mine. I completed nearly 160 shots on Orville episodes 6-11. Lots of stars in windows, button hits and more phaser blasts.
It was exceptional. I had to wait until most of the episodes had aired before I was allowed to talk about working on the shows and not nerding out about it online since the fall has been driving me nuts as every episode aired. While as a subcontractor my name wont be anywhere in the credits, Im still proud and stupidly happy that I got to work on a franchise (and franchise adjacent) that I have literally loved for as long as I can remember.
Now if I can only get the guys from Doctor Who to respond to my emails.
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