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We are a creative studio.
We craft spectacular visual experiences in any space, on any screen.
We have been one of the global leaders in VFX for over 25 years and counting, with industry-leading facilities in London, Vancouver, Montréal, Los Angeles, New York, Amsterdam, Paris, Bangalore and Shanghai.
Renowned for adding visual wonder and creative expertise to the advertising, film and entertainment industries, some of our most famous projects include blockbuster movies such as The Jungle Book, the Harry Potter franchise, X-Men, Prometheus and Life of Pi, and famous advertising campaigns for brands such as Samsung, Coca Cola, Sony, Three Mobile and Channel 4.
Our broad range of skill-sets provide a multitude of creative solutions, including concept design, pre-viz, shoot supervision, 2D compositing, 3D/CG effects, animation, motion design, software development, digital & experiential production, colour grading for advertising and any combination of these services.
MPC is the sum of the parts: creative partners and a range of creative solutions harnessed through a dedication to collaboration. It all comes together in our enthusiastic and talented people, working every day to be a part of creating some of the best and most inspirational work in the industry.
Our only process is collaboration. We feed off like-minded creativity, externally and from within. Filmmakers, brands, agencies, directors, and creatives all help us to push the boundaries of our own potential and create the perfect creative solution.
Our range of skill-sets provide a multitude of creative options and responses, tailored and combined to serve the requirements of each individual project.
Concept design, pre-viz, shoot supervision, 2D compositing, 3D/CG effects, animation, motion design, software development, digital & experiential production, colour grading for advertising and any combination of these services contribute and help to create spectactular visual experiences in any space, on any screen.
Innovation isn’t just a buzzword at MPC, it is the reality of how we do things every day. We focus strongly on software R&D where our dedicated team works to constantly develop new industry-leading proprietary tools and technology. This ensures that we develop the most sophisticated, creative and advanced VFX possible, in the most efficient way.
Our global family of studios are all permanently connected and networked through a cutting-edge integrated production pipeline, allowing our team of producers, artists and technologists to work closely together whether in the same building or remotely from separate locations.
Our range of skill-sets provide a multitude of creative solutions for the advertising industry including concept design, treatment consultation, pre-viz, shoot supervision, 2D compositing, 3D/CG effects, animation, motion design, software development, colour grading, digital and experiential production and any combination of these services.
Our huge breadth of VFX work including character design, environments, crowds and elements (and more) can be seen in the industry’s leading advertising campaigns, while our bespoke creative production service enables us to create new and innovative ways to create spectacular visual experiences in any space and on any screen.
Our VFX work can be seen in some of the most memorable commercials of recent years. For Channel 4’s ground-breaking Meet the Superhumans spot we helped create the atmosphere and crowds for the Paralympics before the event itself. We made a pony moonwalk for Three Mobile and made pretty much everything fly for Avios in their Anything Can Fly spots.
We have been instrumental in creating contemporary classics, such as Cadbury’s Gorilla, Paint and Bunnies for Sony Bravia, Evian’s Skating Babies, the Volkswagen Golf GTi Singin’ in the Rain spot and and John Lewis’ The Long Wait, amongst many others.
MPC Advertising now also offers a fully integrated versioning service, ensuring creative assets are cared for and looked after throughout the adaptation and supply process.
We’re the people behind the VFX in countless blockbuster movies like Godzilla, Life of Pi, X-Men, Harry Potter, Maleficent, Man of Steel and The Lone Ranger.
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Our VFX teams are world leaders in this fast moving and highly specialized medium, which demands a unique blend of creativity and technical finesse. With a fast moving pipeline and a culture of agile technical innovation, we deliver the bold, the new and the breathtaking as standard.
From 3D modellers to animators to riggers, our people share one characteristic – they’re obsessed with creative excellence. We work on the tiny details and spectacular scenes that make movies truly mind-blowing. Creating anything from breathtaking environments, awesome creatures, futuristic spaceships to explosive destruction sequences.
Today we’re no longer just vendors of CGI, we’re scene builders, not just shot makers and we have a direct line to the director’s creative vision. We are involved at every stage of the creative process, from initial concept art to the final compositing and stereoscopic workflow.
We’ve been honored with an Academy Award for our work on Ang Lee’s Life of Pi, as well as receiving five previous nominations most recently for The Lone Ranger, and won two BAFTAs for Special Visual Effects (in 2012 for our work on Harry Potter and the Deathly Hallows Part 2 and in 2013 for our work on Life of Pi).
We’re extremely proud of our talented people and the outstanding work that they regularly produce. We also pride ourselves on our collaborative approach, working together to deliver exceptional creative solutions across a range of projects. That is why the testimonials of our collaborators and partners mean as much to us as recognising the efforts of our world-class people. Here’s what some of them had to say about working with MPC.
The Chronicles of Narnia: The Voyage of the Dawn Treader
Michael Apted (Director)
"Thank you all for the your beautiful work. It was a pleasure doing business with you. You put the magic into Narnia".
Clash of the Titans
Louis Leterrier (Director)
"Thank you for all the amazing work. Your Kraken, Harpies and Pegasus will be remembered forever."
Michael Vaughn (Director)
"Boats, balls and Beast – all beautifully done. Thank you for your great work."
Kingdom of Heaven
Ridley Scott (Director)
"MPC's talented team of artists enabled me to realise my much dreamt Vision of "Kingdom of Heaven'; their patience and humour made the "going" that much more enjoyable and efficient."
Danny Boyle (Director)
"We had this amazing visual effects supervisor called Tom Wood, who worked out of MPC in London. The VFX are really wonderful in it, I think they belong to much higher budgeted film. I’m very proud of the work they did."
Wolfgang Petersen (Director)
"The wizards at MPC have done it again! Their creation of the destruction in the rolling lobby and ballroom, together with the incredible combination of oil, water, fire and smoke and awesome set extensions are absolutely unparalleled. I love working with a company that is so comfortable pushing the technological envelope to the edge (and occasionally beyond !)"
Harry Potter and the Goblet of Fire
Mike Newell (Director)
"The impact you’ve had on the movie is colossal. Voldemort’s transformation alone dserves my deepest thanks – he’s wonderfully horrible… But then, the dual, the maze, nagini – on and on and all quite brilliant. Thank you so much for all your hard work but above everything your huge talent"
Nike 'Play Russian' // Production Company: Imperial Woodpecker // Agency: W+K Amsterdam
Mark Zibert (Director)
“This project was a massive collaboration all the way through…from the client, to W+K, to MPC, to all the production crew. Working out the various angles and transitions in advance was crucial in helping us figure out the shooting technique and the process with MPC was seamless. On a macro level, having the ability to build massive sets as our base allowed us to create a blend of live action and post effects that gave us more depth and texture than if we treated it as a pure green screen shoot. On a micro level, the attention to detail and visualizing the Russian ethos throughout was an equally fulfilling challenge.”
John Lewis 'Never Standing Still' // Production Company: Blink // Agency: adam&eve DDB
Dougal Wilson (Director)
"The idea from adam&eveDDB was all about following the movement of a figure as it travels from era to era. After attempting to shoot a rough version of how this might fit together (using my 5D and iPhone) I immediately realised, with some alarm, that MPC's services would be somewhat vital in making it work. Although this ad celebrates 150 years of John Lewis, MPC had just six days to do all the VFX. However, Bill McNamara and his dedicated expert team worked incredibly hard to achieve what I was concerned might be impossible, especially given all the mistakes I'd made during the shoot. MPC worked tirelessly all hours of the day and night to align match-cuts, paint out cranes, roto-scope animals, remove reflections of the crew, add reflections of trees, magically stitch together different takes of children, replace skies, matte-paint winter landscapes, create WWII air-raids, and countless other 2D and 3D tasks that blend in so well I haven't actually noticed a few of them. Bill also attended the long tech recce and the whole of the shoot, so that his team was impeccably prepared to start work as soon as the offline edit was done - which turned out to be the last day of the shoot, as we were editing as we filmed. Jean-Clément Soret beautifully graded our mix of Alexa and 16mm footage to evoke the different decades in our story, blending the footage and matte paintings together. In summary, this was a Herculean task which Bill and his whole MPC team tackled with incredible skill and efficiency in such a tight schedule.”
First Direct 'Little Frill' // Production Company: Outsider // Agency: JWT London
Dom & Nic (Directors)
"When the script is as good as this it’s easy for everyone to get excited and inspired, the only pressure was to make a worthy follow up to last years Platypus. I think we’ve achieved that and much more. The MPC team were right with us from the initial character design and development, taking on board our thoughts and bringing their own skills and ideas to that vision. The shoot was hectic as usual but with Jon supervising VFX we felt confident to improvise and adapt shots on location. Jon and the animation team really understood the idea of a human trapped in a lizard’s body and a tarsier DJ. Adam and the 2D team integrated the characters into the first direct black and white look seamlessly, graded impeccably again by Jean-Clément. There was time pressure as usual but Dionne and the producers managed the task without any fuss. Another great job and a fantastic team throughout the process.”