Press coverage, project breakdowns and studio updates — the stories behind WeFX work across film and television.
FROM Season 4
Standing eight feet tall before you, the three dolls look handmade and oddly nostalgic until one rips its mouth open and sharp fangs lunge forward — introducing the show’s newest nightmare.
From eight-foot dolls and feathered birds to Roger’s brutal demise and Fatima’s transformation, WeFX reveals how it pushed the visual language of American sci-fi horror series FROM in Season 4.
Reacher Season 3
In Reacher Season 3, every element — from cliffside mansions to fight-scene mayhem — was crafted to support the story without drawing attention. Invisible VFX at its finest.
The show’s central set piece, the sprawling oceanfront Beck estate, was a particularly ambitious task to recreate fully in CG. Based on Ontario’s Escarpment House, the brief was to make it appear as a lived-in cliffside mansion that never tips the hand of VFX.
1923 Season 2
Boutique VFX studio WeFX offers a behind-the-scenes look at one of its most technically demanding sequences for the second season of Paramount+ Western drama 1923.
The scene, depicting the harrowing demise of a horse and its rider during a high-speed chase across the American frontier, unfolds over roughly 20 shots and was brought to life by a 50-person team led by VFX Supervisor Ryan Ng.
FROM Season 3
Leading boutique VFX studio WeFX offers a glimpse into the meticulous process of crafting the horrifying creatures in the sci-fi horror drama From.
Led by VFX supervisor Ryan Ng and head of creature Cesar Dacol Jr., the team pushed creature design, animation and compositing to keep FROM’s nightmares tactile and terrifying.
Uglies
From hoverboards to digidoubles to photoreal environments with interactive water sims, the team went all out to bring this bestselling novel to the screen.
WeFX contributed digi-doubles, hoverboard work and extensive environment builds — including interactive water simulation — to help land Netflix’s Uglies on screen.
What We Do in the Shadows
Supervising over 1,000 visual effects shots across 10 episodes produced by WeFX, Spin VFX and Maverick is Mohammad Ghorbankarimi, who founded Toronto-based WeFX during the pandemic.
From invisible gag work to creature moments and set extensions, WeFX helped keep the documentary-style comedy of What We Do in the Shadows looking effortless — one shot at a time.
Studio
A collective of artistic visionaries, Toronto-based creative studio WeFX delivers visual effects ranging from high-end character animation and complex environment work to invisible VFX and virtual production.
Scaling pipelines on AWS lets WeFX push creature, environment and simulation workloads without slowing creative iteration — so artists stay focused on the shot, not the queue.
‘‘ WeFX Toronto has grown exponentially over the last 2 years, and I am very excited to work with the team to continue to build on the found
We are thrilled to announce the recent promotion of one of our VFX Producers, Steve Stransman, who will be taking on a new position at WeFX.
Effective today, Clary will work on new client acquisitions for WeFX while based in Los Angeles.
A location scout would probably have better odds of finding a needle in a haystack than finding the perfect mansion, located in Maine, with the sprawling sea as a backdrop.
What WeFX knew early on was that the Kimono Woman needed to create maximum psychological impact and leave viewers wanting to know more throughout seasons two and three.
Yellowstone's 1923 Kills 7 Characters: Who Is Dead Before Finale? | Us Weekly