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Resident Evil

Based on the horror franchise, Resident Evil and the T-virus has arrived on Netflix. Fourteen years after a deadly virus caused a global apocalypse, Jade Wesker fights for survival in a world overrun by infected creatures while being haunted by her past, her father, and what happened to her sister, Billie.

MPC delivered spine-tingling visual effects to the 8-episode dramatic sci-fi series Resident Evil. Closely collaborating with Netflix and director Andrew Dabb, MPC’s team of VFX artists built around 210 shots ranging from simple muzzle flashes to complex digital environments and CG vehicles.




Bronwen Hughes Rob Seidenglanz Rachel Goldberg Batan Silva

MPC VFX Supervisor

David Jones

MPC VFX Producer

Adnan Ahmed

With a primary focus on building the digital creatures and futuristic “Blackhawk-style” helicopters, the MPC team led by VFX Supervisor David M. V. Jones and VFX Producer Adnan Ahmed worked with a team of over 170 artists to build the survival thriller sequences. From a 3D version of post-apocalyptic London, with animated 3D helicopters above, to the Brighton Freehold sequence, the team was tasked with a myriad of VFX directives from the client. Subsequently, they also created a muzzle flash, pyro-technical effects, and several blood and gore effects throughout the episodes.

“As an established IP, there were pre-defined looks for the creatures that the filmmakers wished to avoid directly duplicating – so our main focus was to improve, refine, and creatively re-invent the characters and environments” says David Jones, VFX Supervisor. The artists were asked to explore creative artistry through all the sequences while staying grounded in the vision of the dystopian future that felt familiar but also unique to the show itself, which posed an exciting challenge throughout the project.

Among the other biggest challenges for the team was building the crowd of zombies at the Brighton Freehold. The MPC Australia team conquered the complexity and render challenges of creating large crowds that had to appear in the daytime and night-time lighting conditions. The Licker creatures were also a challenge as they attacked characters with long prehensile tongues, which provided a unique challenge for rigging and animation. “Our previous work on Resident Evil properties provided some good starting points for handling these challenges,” adds David.

Prior to this project, MPC also created cinematic visual effects for Resident Evil – Welcome to Raccoon City, Resident Evil – Apocalypse, Resident Evil – Extinction, Resident Evil – Afterlife, Resident Evil – Retribution, and Resident Evil – The Final Chapter.

Resident Evil is now streaming on Netflix.

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