The Walking Dead: Dead City Season 2

For two standout episodes, we crafted crucial enhancements that elevated both the scale and atmosphere of the show’s most dramatic sequences. Our work was centered in episode two, where we digitally extended a practical boat set, created CG explosions—including the boat’s complete destruction—and built a hauntingly realistic digital Hudson River and 2010-era Manhattan skyline. This also included building booby-trapped buoy mines, a dinghy, digidoubles, and extensive fog layers to convey a sense of isolation and suspense. In episode eight, our team focused on fire and smoke simulations and visceral prosthetic makeup enhancements to support a key character’s grisly demise.

To bring these sequences to life, we embraced the challenges of low-light, night-time environments on water. Using Open Street Maps data, we charted realistic paths for the boat, removed post-2010 buildings, and held live previs sessions with the client to fine-tune camera work and guide our DMP artists. Custom Houdini tools were developed to generate screen-space uniform ocean grids, multi-resolution fog banks, and organically growing vines around the Statue of Liberty.

As with any shoot utilizing live pyrotechnics and atmosphere, the blue screens were affected by shifting light and various obstructions. Some of the trickier shots combined digital elements like distant city DMPs, CG water and fog, and partial set extensions, layered over practical fire, smoke, and even extinguisher blasts, sometimes filmed through rain-streaked glass. It all came together thanks to the collaboration between our compositing and CG teams who ensured seamless integration with the stunning practical SFX work.

“It was a dream come true working with client-side VFX Supervisor, and like-minded horror junkie, Aaron McLane. Anyone that knows me well, knows that I wouldn’t be working in film & television if it weren’t for the horror films of the 70s and 80s. There was an enthusiasm and positivity present in the relationship between Framestore and client that I like to think was passed down through every artist, and found its way on to the screen,” shares VFX Supervisor Steve Drew 

On collaborating with Framestore, VFX Supervisor Aaron McLane comments: “Framestore was an absolute delight to work with. Their team brought incredible enthusiasm to Dead City: Season 2, which was clearly reflected in the exceptional work they delivered, offering exciting ideas and options while taking notes and direction with ease. Their producers ensured top-notch communication, making the entire process seamless.”