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Film

Moon Knight - 2022

The Invitation - 2022

Radhe Shyam - 2022

Shamshera - 2022

Joe vs. Carole - 2022

The King's Daughter
Release year: 2022

The King's Daughter - 2022

Don't Breathe 2
Release year: 2021

Don't Breathe 2 - 2021

Lost in Russia
Release year: 2020

Lost in Russia - 2020

Clouds - 2020

Sye Raa Narasimha Reddy
Release year: 2019

 Sye Raa Narasimha Reddy - 2019

Saaho - 2019

Sweetheart
Release year: 2019
Director:&nbsp; &nbsp;J.D. Dillard

Sweetheart - 2019

The Pig on the Hill - 2018

Imprisoned
Release year: 2018
Director:&nbsp; Paul Kampf

Imprisoned - 2018

Thugs of Hindostan
Release year: 2018
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Thugs of Hindostan - 2018

2.0
Release year: 2018
Director:&nbsp; S. Shankar

2.0  - 2018

Airpocalypse
Release year: 2018
Director:&nbsp; Yang Xiao

Airpocalypse - 2018

The Invisible Boy: Second Generation
Release year: 2018
Director:&nbsp; Gabriele Salvatores

The Invisible Boy - 2018

The Witch Hunters
Release year: 2018
Director:&nbsp; Rasko Miljkovic
Visual Effects:&nbsp; Crater Studio

The Witch Hunters - 2018

Juveniles
Release year: 2018
Director:&nbsp; Nico Sabenorio
Production Company: @theocean Entertainment
Visual Effects: Digital Sandbox/Crater Studio

Juveniles -2018

Baahubali 2 - The Conclusion
Release year: 2017
Director:&nbsp; &nbsp;S. S. Rajamouli
Production Company: Arka Media Works
Visual Effects: Crater Studio

Baahubali 2 - The Conclusion - 2017

A Series of Unfortunate Events - 2017

The Shallows - 2016

Pegasus: On the Brink
Release year: 2016
Directors:&nbsp; Roy Chin
Visual Effects: Crater Studio

Pegasus.On The Brink - 2016

Transition
Director: Milica Tomovic
Production Company: EED// Productions
Visual Effects: Crater Studio

Transition - 2016

Kingsglaive: Final Fantasy XV
Release year: 2016
Directors:&nbsp; Takeshi Nozue
Visual Effects: Puppetworks Animation Studio/Crater Studio, and others.

Kingsglaive: Final Fantasy XV - 2016

On the Milky Road -&nbsp;2016
Directors:&nbsp; Emir Kusturica
Production Company: Pinball London, Rasta International Serbia
Visual Effects: Crater Studio

On the Milky Road - 2016

Powidoki - Afterimage
Release year: 2016
Directors:&nbsp; Andrzej Wajda
Production Company: Nolabel
Visual Effects: Crater Studio

 Powidoki - 2016

Muhammad: The Messenger of God
Release Year: 2015
Director: Majid Majidi

Muhammad: The Messenger of God - 2015

You Carry Me
Release year: 2015
Director:&nbsp; Ivona Juka
Production Company: 4 Film
Visual Effects: Crater Studio

You Carry Me - 2015

Point Break - 2015
Director:&nbsp; Ericson Core
Production Company:&nbsp; Alcon Entertainment
Visual Effects:&nbsp; Digital Sandbox/Crater Studio
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Point Break - 2015

Equals
Release year: 2014
Production Company: Cinnamon Production
Visual Effects: Crater Studio

Equals - 2014

Sun Stroke
Release year: 2014
Director:&nbsp; &nbsp;Nikita Mikhalkov
Production Company: Christa Pictures s.r.o
Visual Effects: Crater Studio

Solnechnyy udar - 2014

Eden
Release year: 2015
Director: Shyam Madiraju
Production Company: Gobsmack
Visual Effects: Crater Studio

EDEN - 2014

SEAL Patrol (BlackJacks)
Release year: 2014
Director:&nbsp; Nicolas Aaron Mezzanatto
Production Company: Red Production
Visual Effects: Crater Studio

Seal Patrol - 2014

Eureka  -  2011

One Fall
Release year: 2011
Director: Marcus Dean Fuller
Production Company: Compass
Visual Effects: Crater Studio

One Fall - 2011

Shark Night 3D - 2011

The Other Guys, 2010
Director: Adam McKay; Production Company: Columbia Pictures
Visual Effects: Evil Eye Pictures/Crater studio

The Other Guys - 2010

St. George Shoots the Dragon - 2009

Tears For Sale
Release year: 2008
Director: Uro&scaron; Stojanović
Production Company: Blue pen, EuropaCorp
Visual Effects: Blue Pen/Crater Studio

Tears For Sale - 2008

<div>Our biggest project at the time, Muhammad was the first chance we got to work with award-winning Scott Anderson, and a test for the entire team to see how far we&rsquo;re willing to go to help our clients in the race for the elusive &ldquo;on-time, on-budget&rdquo; medal.</div>
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&nbsp;&ldquo;The Muhammad project started out as a lot of technical work, mostly camera tracking and later roto. As the project progressed and deadlines got pushed, the client recognized a valuable production asset in us, so we managed to score some full compositing shots as well. Seeing the immediate effect of our hard work and being rewarded with more responsibility in the project was a huge motivating force. I think that&rsquo;s what helped us power through so much overtime and weekend for almost 10 months.&rdquo;
Nikola, digital compositor
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&ldquo;As Crater&rsquo;s biggest undertaking at the time, Muhammad was an all-hands-on-deck situation that required them to pull in talent from the Training Center along with the regular pool of artists, which is how I came to be on it as well.
Technically speaking, it was a huge challenge for me, especially since it was the first actual VFX work I had done outside of school. On the other hand, witnessing the energy of the entire studio working like clockwork to achieve a unified goal is how I fell in love with Crater and the industry, and one of the reasons why I am a part of it today.&rdquo;
 Luka, rotoscope artist
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<img src="https://app.craterstudio.com/storage/posts/October2019/Muhammad-22.jpg" alt="" width="400" />
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<img src="https://app.craterstudio.com/storage/posts/October2019/Muhammad-4.jpg" width="400" height="211" />
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&ldquo;Muhammad was literally a team-building project for us. Aside from teaching us how to deal with the stress of deadlines and the incredible amount of overtime, its demands pushed us to call in fresh reinforcements from our Training Center and assemble an in-house compositing team that continues to exist today.
In a nutshell, it showed us what we&rsquo;re made of and helped us set our goals even higher. That history is still being written. &rdquo;
 Cassandra, VFX production manager
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Muhammad

<div>Entirely set in the middle of the ocean, Shallows was our first encounter with Hollywood and one of our team&rsquo;s fondest memories. We were responsible for around 80 shots, which included the remote island environment, various water effects, as well as the shark animation.</div>
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&nbsp;&ldquo;This was a truly fun project, a summer flick with a horror twist that for me was also a rite of passage from a lowly VFX junior. I enjoyed working with the shark asset the most, especially since Crater had done some similar assets before, so I could compare what I&rsquo;ve learned in the time between the two projects.
Overall, Shallows was a great opportunity for the entire team to stop and evaluate how far we had come in the span of a few years, appreciate our progress and identify the next milestone we&rsquo;ve got our sights on.&rdquo;
Nikola, senior digital compositor
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&ldquo;For me, the real challenge came from the artistic side, trying to combine all the separate elements of the shot, working with colors and highlights but also manipulating the water and adding additional water to achieve the necessary level of realism to satisfy high project standards.
Our comping efforts really paid off, and I even dare say that our shots are some of the best in the entire movie! &rdquo;
 Dragan, digital compositor
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<img src="https://app.craterstudio.com/storage/posts/September2019/Shallows_text_3.jpg" width="400" height="211" />
<img src="https://app.craterstudio.com/storage/posts/September2019/Shallows_text_4.jpg" width="400" height="211" />
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<img src="https://app.craterstudio.com/storage/posts/September2019/Shallows_text_1.jpg" width="400" height="211" />
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&ldquo;I believe our resilience was what made the most difference on this project, an unwillingness to give up until we have reached complete realism. We were working with pool shots that had quite a bit of background to be replaced, a lot of action and movement in and around the water. The lighting wasn&rsquo;t always perfect, but the results were expected to be.
Seeing that final shots bear no resemblance to the pool they were actually shot in, and knowing that this was in part thanks to our team, was one of the most satisfying moments of my work here at Crater. &rdquo;
 Cassandra, VFX production manager
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The Shallows

<div>One of the most visually compelling projects we&rsquo;ve ever encountered, A Series of Unfortunate Events was also an exercise in precision under pressure. Our team delivered nearly 180 mindblowingly detailed shots in under three months, including the entire environment of the Baudelaire childrens&rsquo; school.</div>
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&nbsp;&ldquo;Getting to work with an industry giant like Netflix was definitely a turning point for our studio, and our entrance into the world of multi-million TV show budgets with quite a bit on our plate.&nbsp;
We were in charge of a couple of assets, the leech-like creature that attacks the children in the middle of a lake as well as the lake environment that was done from studio shots, including the sky, night sky and surrounding water. Another asset we developed was the environment of the school, which was supposed to emit an eerie, heavy spirit, almost like a cemetery, to communicate the hardship of going to school.&rdquo;
Cassandra, VFX production manager
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&ldquo;Even though it was one of the most technically demanding work we&rsquo;ve ever done, A Series of Unfortunate Events went by like a breeze to me. It hit the sweet spot between difficult and exciting, and with the added thrill of racing against time, it still remains one of my favorite work here at Crater.&rdquo;
 Dragan, match move artist
<img src="https://app.craterstudio.com/storage/posts/September2019/ASUE_text_3.jpg" width="400" height="211" />
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&ldquo;All of the assets done for A Series of Unfortunate Events were based on concept art provided by the client, and the aesthetic demands were something completely different to what we were used to working with. The scenes were to have a theatre-like quality and almost look staged, which is not really a usual request in our profession.
At the same time, the client expected an unparalleled level of detail, which meant we really had to twist both our technical and creative muscles to match our result with the desired outcome.&rdquo;
 Nikola, senior digital compositor
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Serbia as filming location