Asuha and Ganz are moving back to Singapore.
Not to slow down.
To expand.

Asia-Pacific is next and weโ€™re marking it the only way that makes sense:
๐Ÿฏ๐Ÿฌ ๐—ฑ๐—ฎ๐˜†๐˜€. ๐Ÿฏ๐Ÿฌ ๐—ฉ๐—™๐—ซ ๐—บ๐—ผ๐˜ƒ๐—ถ๐—ฒ๐˜€ ๐—ฎ๐—ป๐—ฑ ๐˜€๐—ฒ๐—ฟ๐—ถ๐—ฒ๐˜€ ๐˜„๐—ฒ ๐—น๐—ผ๐˜ƒ๐—ฒ๐—ฑ ๐—ฟ๐—ฒ๐—ฐ๐—ฒ๐—ป๐˜๐—น๐˜†.
Some of them even had their composites done by former students of Ganz and Andrew.

๐——๐—ฎ๐˜† ๐Ÿฎ๐Ÿฌ: ๐—š๐—ผ๐—ฑ๐˜‡๐—ถ๐—น๐—น๐—ฎ ๐˜… ๐—ž๐—ผ๐—ป๐—ด: ๐—ง๐—ต๐—ฒ ๐—ก๐—ฒ๐˜„ ๐—˜๐—บ๐—ฝ๐—ถ๐—ฟ๐—ฒ (๐Ÿฎ๐Ÿฌ๐Ÿฎ๐Ÿฐ)
Scanline VFX Vancouver was a frontline studio on the latest Monsterverse entry, delivering entire tentpole sequences: the ๐—ช๐—ฎ๐—ฟ๐˜-๐——๐—ผ๐—ด๐˜€ ๐—ถ๐—ป ๐˜๐—ต๐—ฒ ๐—ผ๐—ฝ๐—ฒ๐—ป๐—ถ๐—ป๐—ด, ๐˜๐—ต๐—ฒ ๐—˜๐—ด๐˜†๐—ฝ๐˜ ๐—ฏ๐—ฎ๐˜๐˜๐—น๐—ฒ ๐—ฏ๐—ฒ๐˜๐˜„๐—ฒ๐—ฒ๐—ป ๐—ž๐—ผ๐—ป๐—ด ๐—ฎ๐—ป๐—ฑ ๐—š๐—ผ๐—ฑ๐˜‡๐—ถ๐—น๐—น๐—ฎ, and the ๐—ณ๐—ถ๐—ป๐—ฎ๐—น๐—ฒ ๐—ถ๐—ป ๐—ฅ๐—ถ๐—ผ ๐—ฑ๐—ฒ ๐—๐—ฎ๐—ป๐—ฒ๐—ถ๐—ฟ๐—ผ.

๐——๐—ถ๐—ฑ ๐˜†๐—ผ๐˜‚ ๐—ธ๐—ป๐—ผ๐˜„?
Scanline has been part of the Monsterverse since Godzilla vs. Kong (2021), steadily scaling up its contribution.

The Vancouver team owns some of the franchiseโ€™s heaviest environment + destruction work, where photoreal debris and cities anchor the kaiju spectacle.

What looks like pure fantasy rests on their R&D pipeline: environments, FX, comp delivered end-to-end from Canada.

๐—Ÿ๐—ฒ๐˜€๐˜€๐—ผ๐—ป:
Scale isnโ€™t just big creatures.
Itโ€™s cities that break believably..