French VFX firm The Yard, whose credits include Indiana Jones 5, Ford v Ferrari, Enola Holmes 2, Wanda Vision, John Wick 4 and Netflix’s All The Light We Cannot See, has appointed Tom Fonvillars as head of its CG department.
Fonvillars will oversee graphic creation for films and series. Fonvillars has previously collaborated with companies including The Mill and Framestore in London and Montreal. His filmography includes Edge of Tomorrow, Fantastic Beasts and Where to Find Them, Thor: Ragnarok, Alita: Battle Angel, Lady and the Tramp, Army of The Dead, and more recently, Rebel Moon.
Fonvillars’ appointment comes amid company expansion, including the opening of a second site in Montpellier as part of the French government’s investment program France 2030 La Grande Fabrique de l’Image.
Fonvillars said: “It’s a real pleasure for me to join The Yard. Upon my return to France, it was paramount for me to...
Fonvillars will oversee graphic creation for films and series. Fonvillars has previously collaborated with companies including The Mill and Framestore in London and Montreal. His filmography includes Edge of Tomorrow, Fantastic Beasts and Where to Find Them, Thor: Ragnarok, Alita: Battle Angel, Lady and the Tramp, Army of The Dead, and more recently, Rebel Moon.
Fonvillars’ appointment comes amid company expansion, including the opening of a second site in Montpellier as part of the French government’s investment program France 2030 La Grande Fabrique de l’Image.
Fonvillars said: “It’s a real pleasure for me to join The Yard. Upon my return to France, it was paramount for me to...
- 11/22/2023
- by Andreas Wiseman
- Deadline Film + TV
France’s VFX workforce has grown by leaps and bounds over the past three years, with much credit due to a 10% across-the-board tax rebate bonus for international productions that spend more than $2.1 million with local digital outfits.
Of course, the fact that American studios could also benefit from the full 40% tax rebate wholly on post-production expenditures has only helped matters further, affording top-trained talent the chance to stay in France, proving their mettle on lavish blockbusters shot elsewhere.
The local VFX industry is “no longer viewed in the same way,” says the Yard founder and CEO Laurens Ehrmann. “Today, we get more work by word-of-mouth, as producers and editors pass along our name. Whereas before productions might spend the $2.1 million just to take advantage of the full tax credit, today productions that have never shot in France come to us directly” with much more substantial VFX buys.
Indeed, work on...
Of course, the fact that American studios could also benefit from the full 40% tax rebate wholly on post-production expenditures has only helped matters further, affording top-trained talent the chance to stay in France, proving their mettle on lavish blockbusters shot elsewhere.
The local VFX industry is “no longer viewed in the same way,” says the Yard founder and CEO Laurens Ehrmann. “Today, we get more work by word-of-mouth, as producers and editors pass along our name. Whereas before productions might spend the $2.1 million just to take advantage of the full tax credit, today productions that have never shot in France come to us directly” with much more substantial VFX buys.
Indeed, work on...
- 10/29/2023
- by Ben Croll
- Variety Film + TV
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