Ganz and Asuha are moving back to Singapore.
Not to slow down.
To expand.
Asia-Pacific is next and weโre marking it the only way that makes sense:๐ฏ๐ฌ ๐ฑ๐ฎ๐๐. ๐ฏ๐ฌ ๐ฉ๐๐ซ ๐บ๐ผ๐๐ถ๐ฒ๐ ๐ฎ๐ป๐ฑ ๐๐ฒ๐ฟ๐ถ๐ฒ๐ ๐๐ฒ ๐น๐ผ๐๐ฒ๐ฑ ๐ฟ๐ฒ๐ฐ๐ฒ๐ป๐๐น๐.Some of them even had their composites done by former students of Andrew and Ganz.
๐๐ฎ๐ ๐ญ๐ฏ: ๐ฃ๐ฟ๐ฒ๐ (๐ฎ๐ฌ๐ฎ๐ฎ)
Shot across ๐๐น๐ฏ๐ฒ๐ฟ๐๐ฎ, primarily on ๐ฆ๐๐ผ๐ป๐ฒ๐ ๐ก๐ฎ๐ธ๐ผ๐ฑ๐ฎ ๐๐ถ๐ฟ๐๐ ๐ก๐ฎ๐๐ถ๐ผ๐ป land near Calgary, with additional locations at ๐ ๐ผ๐ผ๐๐ฒ ๐ ๐ผ๐๐ป๐๐ฎ๐ถ๐ป and the ๐๐น๐ฏ๐ผ๐ ๐ฅ๐ถ๐๐ฒ๐ฟ, real terrain giving the hunt its spine.
๐๐ถ๐ฑ ๐๐ผ๐ ๐ธ๐ป๐ผ๐?
The showpiece creature work was a hybrid build: Studio ADIโs animatronic/suit on set, then digital augmentation and full-CG where the performance demanded it.
MPC led post as principal vendor, delivering 600+ shots, from the Predatorโs cloaking and green blood to a small zoo of CG wildlife (bear, wolf, mountain lion, and more).
Thereโs a full Comanche-language dub, aligning the filmโs voice with its setting not just in costume, but in sound and story.
Boots in real mud. Alberta skies for horizon. Suit, sim, and comp to erase the seam. Thatโs why it feels mythic and still true.
๐๐ฒ๐๐๐ผ๐ป:When the ground is real.
Make the monster unreal.
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