Visual Effects Produced by:

MASS.ILLUSIONS VFX Supervisors: Joel Hynek and Nick Brooks VFX Producer: Donna Langston Lead Software Developer: Pierre Jasmin CG Supervisor: Mike Schmitt Compositing Supervisor: Mark Nettleton in collaboration with MOBILITY GIANT KILLER ROBOTS SHADOWCASTER POP FILM VFX Supervisor: Stuart Robertson VFX Producer: Andrea D'Amico Digital FX Supervisors: Lawrence Littleton   and Kenneth Littleton Senior Matte Artist: Deak Ferrand Matte Painting Supervisor: Rocco Gioffre Senior CG Artist: Yannick Dusseault

DIGITAL DOMAIN VFX Supervisor: Kevin Mack VFX Producer: Dean A. Wright Compositing Supervisor: Carey G. Villegas Lead Compositor: Claas Henke Digital Matte Supervisor: Martha "Snow" Mack CIS HOLLYWOOD VFX Supervisor: Dr. Ken Jones VFX Producer: Patti Kuwaye Mauck Executive Producer: C. Marie Davis RADIUM ILLUSION ARTS Models by CINEMA PRODUCTION SERVICES Supervisor: Michael Joyce Cinematographer: Garry Waller Additional Matte Paintings by Michael Lloyd Location and Stage Motion Control Provided by GENERAL LIFT Supervisor: Joe Lewis

Robin Williams and Oscar-winner Cuba Gooding Jr. star in Vincent Ward's new film, WHAT DREAMS MAY COME. Effects houses Mass.Illusions, POP and Digital Domain helped created the many hundreds of digital effects in the film.

Mass.Illusions, in collaboration with Giant Killer Robots, Mobility and Shadowcaster handled the remarkable 'painted world' afterlife, a world in which the environment is a constantly changing impressionist painting. POP handled numerous composites, including 'Leona's world' and the densely complicated 'library' sequence. Digital Domain took care of various sequences, including the 'painted tree' sequence, and the ghostly image of Cuba Gooding Jr.

Mass.Illusions, in collaboration with Giant Killer Robots, Mobility and Shadowcaster created the beautiful afterlife, dubbed the 'painted world;' since Robin Williams' character is a fan of impressionistic paintings, he imagines an afterlife created by brushstrokes. Plates were photographed at the Montana National Glacier Park with very little motion control and greenscreens. With Williams isolated from the frame, the backgrounds were warped and manipulated to give the impression of a painter's brush creating the world. To learn more about the film's visual effects, read the VFXPro interview with Ellen Somers, the film's visual effects supervisor.

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