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Scanline VFX

Scanline VFX was a globally recognized (VFX) studio founded in 1989 in , , specializing in photorealistic simulations of complex natural phenomena such as , , , and destruction for , television, and commercials. Renowned for its proprietary Flowline fluid simulation software, which earned a Scientific and Technical Academy Award in 2008, the company pioneered advancements in VFX technology and delivered effects for numerous major productions. Scanline VFX contributed iconic sequences to blockbuster films like , , , and , as well as acclaimed series including (Seasons 4 and 8, for which it won two for Outstanding Special ), , , and Season 2 (earning a 2025 Emmy for Outstanding Special in a Season or Movie). Operating studios in , , , , , , and , Scanline employed over 1,000 artists and technologists, fostering innovation in areas like virtual production and volumetric capture. Acquired by in early 2022 to bolster its content creation pipeline, the studio continued serving external clients while prioritizing Netflix originals. In October 2025, Scanline VFX merged with Netflix's Eyeline Studios—known for virtual production tools used in projects like Wednesday Season 2—and rebranded as Eyeline to unify VFX, research, and production capabilities under a single entity.

History

Founding and early years

Scanline VFX was founded in 1989 in , , by Thomas Zauner, Peter Claridge, and Stefanie Stalf. The company began operations at the Bavaria Film Studios, initially concentrating on 3D animation and () for local television and film productions. In its startup phase, the small team developed proprietary software tools to create basic , drawing on Zauner's prior experience in from the mid-1980s. During the early , Scanline's work centered on industrial films, logo animations, and commercials for clients, where the studio honed foundational techniques in particle systems and simulations. These efforts relied on emerging hardware and software like early versions of 3DS Max, integrated with custom scripts to achieve realistic dynamics on limited budgets. The company established initial expertise in fire and effects during this period. The nascent VFX industry presented substantial hurdles for Scanline, including scarce computational resources, a small initial workforce, and intense competition from established U.S. studios that dominated pipelines. As a European outsider, the company struggled for credibility in international markets, often competing against high-cost practical effects like miniatures while proving the viability of for photorealistic simulations. Despite these obstacles, Scanline's focus on natural phenomena effects laid the groundwork for future innovations, setting the stage for broader expansion in the 2000s.

Expansion and key milestones

Scanline VFX marked its expansion into the North American market with the opening of a studio in in 2007, enabling closer collaboration with filmmakers and access to regional expertise in production. This represented a key shift from its European roots, allowing the company to handle larger-scale projects and integrate into the U.S. industry's ecosystem. Four years later, in 2011, Scanline established its studio, which rapidly expanded to become its largest operation and a hub for complex simulations, further strengthening its global footprint. A breakthrough milestone occurred in 2009 with extensive work on the disaster film 2012, where Scanline deployed its proprietary Flowline software for more than 100 fluid simulation shots depicting massive tidal waves and destruction, solidifying its expertise in photorealistic water and environmental effects. This project not only demonstrated the scalability of their technology for high-stakes sequences but also positioned Scanline as a go-to studio for in action-oriented , influencing subsequent technological advancements in rendering. The company's workforce evolved from a modest team of dozens during its 1990s inception in to a robust international operation, with a strong emphasis on recruiting diverse talent from around the world to fuel across studios. By the mid-, employee numbers had surpassed 500, supporting the demands of multifaceted projects, and continued to grow, reaching over 1,000 by 2021 as new facilities came online. This expansion in human resources paralleled technological shifts toward more integrated virtual production workflows in the late and early . Throughout the 2010s, Scanline cultivated ongoing partnerships with leading studios including and , fostering consistent opportunities for high-profile integration and contributing to the company's reputation for reliable, cutting-edge delivery on narratives. These collaborations underscored Scanline's role in the evolving VFX landscape, blending proprietary tools with studio-specific pipelines to address increasingly ambitious creative visions.

Acquisitions and rebranding

In November 2021, announced its acquisition of Scanline VFX, a leading studio, for an undisclosed amount. The deal was completed in the first quarter of 2022, subject to regulatory approvals, allowing Scanline to integrate as a standalone entity within while maintaining operational independence to serve a range of clients beyond productions. Under this structure, Scanline continued its leadership with Stephan Trojansky at the helm, preserving its creative autonomy and focus on innovative VFX workflows. Post-acquisition, Scanline expanded its global footprint, including a significant $100 million investment announced in 2022 to enhance facilities and grow its team in South Korea to over 130 artists at the Seoul studio, building on its established presence there since 2019. In February 2025, Scanline VFX shut down its operations in Germany, closing the Munich and Stuttgart studios as part of Netflix's restructuring efforts. By 2025, the company's workforce had grown to approximately 1,000 employees worldwide, reflecting changes under Netflix's ownership following the merger. On October 15, 2025, Scanline VFX merged with Netflix's Eyeline Studios, a virtual production and AI-focused entity founded in 2019, and rebranded as Eyeline to unify their operations under a single banner. The rebranding aimed to streamline collaboration, integrate Scanline's decades of VFX expertise with Eyeline's advancements in real-time production and generative tools, and accelerate innovation in visual storytelling for film and television. This corporate evolution positioned Eyeline as a comprehensive creative powerhouse, enhancing Netflix's in-house capabilities while supporting external projects.

Operations and technology

Global studios and workforce

Prior to its , Scanline VFX operated seven studios across multiple continents, with locations in and in , in the United States, and in , in the , and in . These facilities supported the company's international production pipeline, enabling seamless collaboration on large-scale projects. Following its acquisition by in early 2022 and a subsequent merger with Eyeline Studios in October 2025 to form Eyeline, the operational footprint evolved to emphasize efficiency while retaining core global hubs. The company's workforce exceeded 1,200 employees worldwide, comprising artists, engineers, producers, and support staff drawn from diverse nationalities and cultural backgrounds. This multicultural composition fostered innovative problem-solving and creative , with teams specializing in everything from concept development to final . Roles spanned VFX artistry in modeling, , and effects; for tool development; and production management to coordinate global workflows. Emphasis on inclusive hiring practices strengthened the talent pool, particularly in technical and artistic disciplines. Individual studios contributed unique strengths to the overall operations. For instance, the Vancouver studio excelled in fluid and rigid body simulations, leveraging proprietary expertise honed over decades. Montreal, established in 2018 and expanded post-2022 acquisition, focused on animation integration and creature work, benefiting from regional talent in character animation. Other sites like Los Angeles and London handled high-volume compositing and sequence supervision, while Munich and Stuttgart maintained roots in foundational effects research, and Seoul supported Asia-Pacific projects with growing virtual production capabilities. Infrastructure across studios included high-end render farms capable of processing millions of render hours, often utilizing cloud-based solutions like AWS Thinkbox Deadline for scalable computing. Collaboration was facilitated through integrated tools for real-time asset sharing and remote workflows, allowing teams to synchronize efforts despite geographic dispersion—proven effective during global transitions like the 2020 shift to remote operations. These systems ensured consistent quality and efficiency in delivering complex .

Services and VFX specialties

Scanline VFX provided a comprehensive suite of services, with a core emphasis on creating photorealistic simulations of natural phenomena such as water, fire, smoke, destruction, and environmental effects for feature films and productions. These simulations leveraged advanced and particle systems to achieve high-fidelity representations that integrated seamlessly with narrative demands in action-oriented content. The studio maintained specialized pipelines designed for blending with live-action footage, encompassing techniques like , , and the construction of expansive digital environments. These processes ensured photorealistic continuity, allowing for the augmentation of practical sets with elements such as dynamic weather systems or large-scale destruction sequences. Over its history, Scanline VFX evolved its offerings from 2D and effects in the 1990s to sophisticated full workflows by the 2010s, particularly honing expertise in scenarios and spectacles that required intricate simulations of and environmental upheaval. This progression reflected a shift toward tools like Flowline for enhanced simulation efficiency, enabling more complex integrations in modern productions. Scanline's client base consisted primarily of major studios, where it often handled end-to-end VFX supervision for projects, from previsualization through final delivery to ensure cohesive visual storytelling.

Proprietary tools and innovations

Scanline VFX developed Flowline, its proprietary simulation software, in the early 2000s to enable realistic rendering of , , , clouds, and other volumetric effects. The toolset integrated with industry-standard platforms such as 3ds Max and , providing modules for hydrodynamics, particle interactions, and rendering of complex phenomena like breaking waves, splashes, foam, and underwater caustics. Initial prototypes emerged from Scanline's need for advanced simulations in feature films, with full deployment achieved by 2005, marking a significant advancement in in-house VFX pipelines. Beyond Flowline, Scanline maintained custom in-house pipelines for particle effects and destruction simulations, which handled , debris interactions, and large-scale environmental breakdowns. These pipelines were designed for seamless integration with tools like Houdini, allowing artists to combine proprietary solvers with open-source and for enhanced efficiency in simulating natural disasters and structural failures. Post-acquisition by in early 2022 and the 2025 merger forming Eyeline, the toolset incorporated AI-assisted features, including algorithms to optimize parameters and automate repetitive tasks in and particle workflows, alongside advancements in . Scanline's innovations influenced VFX industry standards for simulating natural phenomena, particularly in fluid-based effects, by emphasizing physically accurate models that reduced computational demands while maintaining . Although Flowline remained an internal tool without external licensing, its methodologies contributed to broader adoption of hybrid techniques in studios worldwide, setting benchmarks for handling large-scale environmental interactions.

Awards and recognition

Scientific and technical achievements

Scanline VFX received significant recognition for its contributions to simulation technology through the development of its proprietary Flowline software. In 2008, the of Motion Picture Arts and Sciences awarded a Scientific and Technical Achievement Award to Scanline engineers Stephan Trojansky, Thomas Ganshorn, and Oliver Pilarski for Flowline, a flexible system that leverages highly parallel computation to enable rapid and produce detailed, realistic effects in production. This achievement marked a milestone in VFX engineering, as Flowline's innovations in simulating complex fluid dynamics—such as water, smoke, and other liquids—provided filmmakers with more efficient tools for creating photorealistic environmental interactions. By optimizing computational processes, the software reduced rendering times while maintaining high fidelity, influencing subsequent advancements in simulation pipelines across the industry. The broader impact of Flowline and related engineering efforts at Scanline has been to democratize access to advanced techniques, allowing other studios to build upon these methods for large-scale effects sequences. This recognition underscores Scanline's role in elevating the technical standards of , fostering innovations that enhance realism and workflow efficiency in production.

Visual effects nominations and wins

Scanline VFX has earned significant recognition for its visual effects contributions to major film and television projects, particularly through nominations and wins in prestigious artistic awards categories. In 2011, the studio received an Academy Award nomination for Best Visual Effects for its work on Hereafter, directed by Clint Eastwood, where it served as the primary VFX vendor creating key sequences involving supernatural elements and water simulations. Similarly, in 2015, Scanline garnered another Academy Award nomination in the same category for Captain America: The Winter Soldier, contributing over 200 shots including complex action sequences and environments for the Marvel film. On the television front, Scanline VFX achieved Emmy Award wins for Outstanding Special Visual Effects for its contributions to , including season 4 (2014) and season 8 (2019), specifically for episodes such as "The Bells," where the studio handled dragon battles, massive destruction, and environmental effects that elevated the series' climactic moments. In 2025, Scanline VFX's work on Season 2 earned a Primetime Emmy Award for Outstanding Special Visual Effects in a Season or Movie. Scanline VFX also received a BAFTA nomination for Best Special for Iron Man 3 in 2014, recognizing its dynamic sequences like the house attack involving destructible architecture and aerial combat. The studio has secured multiple (VES) Awards and nominations for projects including a nomination for Outstanding Effects Simulations in a Photoreal for the and tsunami sequences in San Andreas (2015), and nominations for in 2022 across categories like Outstanding in a Photoreal and FX Simulations, highlighting its prowess in disaster and creature effects. Overall, from 2008 to 2025, Scanline VFX has amassed numerous nominations and several wins across major awards bodies including the , Primetime Emmys, BAFTAs, and VES Awards, reflecting its consistent impact on high-profile artistry.

Film projects

1990s and 2000s

In the , Scanline VFX established its foundation through early contributions to and television productions, leveraging proprietary software developed on workstations to create innovative digital effects. A notable example was their pioneering work on a breaking for a German TV movie, where they implemented advanced digital particle systems that laid the groundwork for their later fluid simulation tools. These initial projects focused on photorealistic phenomena, building Scanline's expertise in complex simulations while contributing to local cinema before expanding internationally. Entering the 2000s, Scanline transitioned to high-profile Hollywood films, particularly disaster epics, where they served as lead providers for fluid-based visual effects using their proprietary Flowline software. For 300 (2006), directed by Zack Snyder, Scanline generated CG water elements depicting a massive storm destroying the Persian fleet, along with secondary animations of falling soldiers to enhance the battle's chaos. In Poseidon (2006), under Wolfgang Petersen's direction, they collaborated with MPC to simulate intricate water dynamics, including capsizing ship interiors and turbulent ocean surges, marking a breakthrough in large-scale liquid interactions. By 2009, Scanline's role culminated in 2012, Roland Emmerich's apocalyptic thriller, where they delivered over 100 fluid simulation shots, such as a 2-kilometer-high tidal wave engulfing cities in global destruction sequences. These efforts highlighted Scanline's specialization in fluids for disaster narratives across more than a dozen films in the decade. The company's expansion, including the establishment of studios in in 2007 and shortly thereafter, facilitated access to bigger-budget productions starting around 2005, amplifying their capacity for ambitious simulations.

During the , Scanline VFX expanded its footprint in high-profile franchises, particularly within the (MCU) and , delivering complex that blended seamless hybrid live-action and integration across more than 20 major titles. The studio's growing scale was evident in its handling of increasingly ambitious sequences, with shot volumes reaching up to 700 per project on lead-vendor assignments, showcasing advancements in simulations for destruction, environments, and character assets. A pivotal contribution came in 2013 with , where Scanline produced 250 shots focused on the Mark 42 suit's modular assembly and disassembly effects, including intricate suit-up sequences and dynamic flight maneuvers integrated with practical elements. This work highlighted the studio's expertise in animating powered armor, supporting the film's high-octane action while maintaining photorealistic interactions with live-action footage. In 2014, Scanline elevated its MCU involvement with Captain America: The Winter Soldier, delivering approximately 450 shots for intense action sequences such as the freeway chase and elevator fight, where digital extensions of environments and enhanced stunt work created fluid, grounded combat dynamics. The studio's hybrid approach ensured that enhancements amplified practical stunts without overpowering the narrative's realistic tone. Scanline's simulation prowess shone in 2015's San Andreas, contributing key sequences of earthquake devastation, including the collapse of the , where proprietary fluid and rigid-body dynamics merged massive destruction with live-action plates for immersive disaster realism. By the mid-2010s, the studio took on lead-vendor roles in projects, notably Justice League (2017), providing around 700 shots for environmental work, hero character assets, and large-scale battles, integrating alien invasions with urban settings to support the ensemble's epic confrontations. Overall, these projects underscored Scanline's evolution from supporting vendor to essential partner in blockbuster pipelines, prioritizing scalable CGI-live action fusion amid rising production demands.

2020s

In the early , Scanline VFX expanded its portfolio with high-profile action and superhero films, leveraging its expertise in creature animation and environmental simulations. Continuing its MCU involvement, the studio contributed to (2021), delivering 163 shots across four sequences including exploding vehicles and fight scenes, Shang-Chi and the Legend of the Ten Rings (2021), focusing on magical bamboo forests and balletic fight sequences, Eternals (2021), with cosmic-scale environments and Deviant creature designs, and The Suicide Squad (2021). A key project was (2021), where the studio acted as lead visual effects vendor across its Los Angeles, Vancouver, and Montreal facilities, delivering 390 shots that included the sea battle sequence, the three-way Titan fight in Hong Kong, and intricate monster environments blending practical and digital elements. The studio's work continued with The Batman (2022), contributing 217 shots across 11 sequences, primarily in the film's third act, which featured extensive simulations of Gotham City's flooding from breached dams, stadium destruction, and atmospheric effects to heighten the noir aesthetic. Following Netflix's acquisition of Scanline, completed in the first quarter of 2022, the studio deepened its involvement in the platform's original content, facilitating contributions to action-heavy productions. Among Netflix-integrated works, Scanline provided visual effects for (2022), enhancing over 300 shots with dynamic action sequences, including Prague street chases captured via 360-degree for seamless integration of practical locations with digital extensions and explosions. Additional Netflix films included (2022), featuring time-travel simulations and aerial battles, and (2021), with comet impact effects and global disaster visuals. Scanline also contributed to (2022), creating waterfall sequences and underwater environments. Post-2022 adaptations marked an increased emphasis on streaming titles, such as Rebel Moon – Part One: A Child of Fire (2023), where Scanline handled spaceship battles and planetary environments across hundreds of shots. This period also saw continued collaboration on the with Godzilla x Kong: The New Empire (2024), building on prior work through advanced Titan animations and zero-gravity sequences. Leading up to the October 2025 rebrand, Scanline's final pre-merger projects included (2025), a adventure-comedy featuring complex crowd simulations, pyrotechnics, and environmental destruction in over 200 shots.

Television and other works

Notable TV series

Scanline VFX has provided visual effects for over ten television series, specializing in episodic work for prestige streaming productions in fantasy, sci-fi, and genres. Their contributions often involve complex environments, , and simulations, supporting narrative-driven sequences across multiple seasons. A prominent example is their extensive involvement in HBO's Game of Thrones (2011–2019), where they delivered visual effects for dragon sequences, large-scale battles, and environmental destruction across several seasons. For Season 8, Scanline handled over 615 shots in the final three episodes, including the rendering of Drogon with custom shaders for scale and texture continuity, procedural simulations of King's Landing's devastation using V-Ray, and the melting of the Iron Throne via Flowline fluid effects integrated with Houdini solvers. This work contributed to Primetime Emmy Awards for Outstanding Special Visual Effects for Seasons 4 (2014) and 8 (2019). In Netflix's (2016–present), Scanline focused on the otherworldly Upside Down dimension, particularly in Seasons 3 and 4. They created rift portals, environmental extensions, and dynamic action sequences, such as Eleven's confrontation with in Season 4, Episode 9, using for realistic lighting and particle effects in inverted, decaying landscapes. Their efforts enhanced the show's supernatural horror elements, contributing to immersive episodic storytelling. Scanline also supported Apple TV+'s (2021–present) with space simulations, including detailed spaceship models and exotic planetary environments that grounded the series' epic scope in Isaac Asimov's adaptation. For Netflix's (2019–present), their Season 4 work (released 2025) included creature enhancements and fantasy action, building on the show's monstrous encounters and magical realms. Additional notable series include Netflix's Season 2 (2025), where Scanline created effects for characters like Professor Orloff, and Season 2 (2024), earning a 2025 Primetime Emmy for Outstanding Special Visual Effects in a Season or Movie. Other projects encompass (2021–2023) and (2021). These projects exemplify Scanline's role in elevating television visuals through proprietary tools like Flowline for fluid and creature dynamics.

Commercials and additional projects

Scanline VFX has an established track record in producing for commercials, specializing in complex simulations for high-end advertising projects that require rapid delivery and innovative effects like and particle systems. Their contributions to this sector leverage proprietary tools developed for feature films, adapted for brand campaigns that emphasize product integration and visual impact. Examples include commercials for and automotive brands. Following Netflix's acquisition in early 2022, Scanline VFX has ventured into emerging media, including early and projects post-2020 through its integration with Eyeline Studios. The 2025 merger under the Eyeline brand has emphasized virtual production and interactive content development, enabling advanced tools for Netflix's immersive experiences and generative content creation. This expansion allows for quick-turnaround simulations in non-traditional formats, building on the studio's core simulation expertise to support experiences and interactive narratives.

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