Totems - Prime Series (2022) The Mill teams (formerly MPC Paris) delivered more than 850 VFX shots, along with the full image post-production for this high-end spy series featuring a stellar five-star cast. Under the VFX supervision of Hugues Namur, our teams tackled a wide range of complex work, including extensive environments, FX, full-CG shots, face swaps and a broad spectrum of invisible VFX. From set extensions and digital environments to fully CG sequences and detailed character work, this ambitious project brought together the expertise of our artists, compositors, CG teams and supervisors to seamlessly blend practical photography and digital artistry throughout the series. MORE INFO https://www.themill.com/work/totems ABOUT US The Mill is a world-leading creative studio built on nearly four decades of award-winning craft. Spanning Brand & Content and Film & Series, we create visually ambitious work for the world's most discerning brands, studios and storytellers — conceived from the outset to move across platforms, markets and audiences without compromise. FOLLOW US Website: https://www.themill.com/ LinkedIn: https://www.linkedin.com/company/the-mill Instagram: https://www.instagram.com/millchannel X: https://x.com/MILL__CHANNEL #TheMill #VFX #Brand #Content #Film #Series

Dracula VFX Breakdown For Luc Besson’s film Dracula, The Mill’s film & series teams handled the visual effects production over a period of six months. The team delivered 656 VFX shots, including around ten created entirely in CG. The journey began in January 2024, with the preparation phase led by Laurent Creusot, the film’s overall VFX supervisor. Drawing on 30 years of experience, he ensured that the director’s vision was faithfully brought to life on screen. No fewer than 162 professionals, artists and technicians were involved, with VFX production overseen by Nicolas Nepveu and Alice Neichols. A huge congratulations to our teams for their talent, dedication and passion throughout the 'DLT' journey! MORE INFO https://www.themill.com/work/dracula-a-love-tale ABOUT US The Mill is a world-leading creative studio built on nearly four decades of award-winning craft. Spanning Brand & Content and Film & Series, we create visually ambitious work for the world's most discerning brands, studios and storytellers — conceived from the outset to move across platforms, markets and audiences without compromise. FOLLOW US Website: https://www.themill.com/ LinkedIn: https://www.linkedin.com/company/the-mill Instagram: https://www.instagram.com/millchannel X: https://x.com/MILL__CHANNEL #TheMill #VFX #Film #Dracula #LucBesson #Gargoyles

Colours of Time directed by Cédric Klapisch [La Venue de l'Avenir] (2025) Produced by Ce Qui Me Meut, the film was supported by the Film & Series teams at The Mill, formerly MPC Paris, who worked on over 150 VFX shots and handled the full image post-production: from raw footage and editing to color grading and final delivery. SYNOPSIS About thirty people from the same family learn that they’re about to inherit a long-abandoned house. Four of these distant cousins are tasked with inspecting the property. As they explore, they uncover hidden treasures and find themselves following in the footsteps of a mysterious woman named Adèle, who left her native Normandy for the capital back in 1895. ABOUT US The Mill is a world-leading creative studio built on nearly four decades of award-winning craft. Spanning Brand & Content and Film & Series, we create visually ambitious work for the world's most discerning brands, studios and storytellers — conceived from the outset to move across platforms, markets and audiences without compromise. FOLLOW US Website: themill.com LinkedIn: https://www.linkedin.com/company/the-mill Instagram: www.instagram.com/millchannel #TheMill #LaVenuedeLAvenir #VFX #vfxbreakdown

Emilia Pérez directed by Jacques Audiard (2024) Emilia Pérez marks the fifth collaboration between our teams and director Jacques Audiard. Under the overall supervision of Cédric Fayolle, The Mill (ex-MPC Paris) joined the project in its early stages in September 2023. What makes Emilia Pérez unique? Nearly the entire film was shot against blue screens in the Paris region. One of the main challenges during post-production was to ensure visual consistency, making the visual effects seamless across more than 350 shots. VFX Supervisor Rodolphe Zirah and 2D Supervisor Lise Fischer explain that every street, every exterior set—and often even interiors—required digital visual effects. For example, in the opening scene with Zoë Saldaña, only a few storefronts were physically present; everything else, from buildings and trees to the ground itself, was created digitally. Likewise, the chase sequence, largely crafted in CGI, showcases the full impact of the VFX work. This complex scene required a detailed design phase and close collaboration with the director. To illustrate the scale of their work, Rodolphe and Lise note that over 65% of the shots featured in the trailer were digitally altered. Digital Environments Supervisor Christophe Courgeau explains that extensive testing and iterations were needed to strike the right balance between realism and stylization. The virtual environments—designed to evoke an imagined version of Mexico—include fully CG creations like Emilia’s house, the prison, and entire landscapes. VFX Producer Yann Nivet coordinated over 70 artists over an eight-month period, ensuring—with Executive Producer Édouard Valton—that every stage of the process met both deadlines and budget, especially for the Cannes premiere. The close collaboration between the VFX and image post-production teams was essential. The cinematography by Paul Guilhaume was graded in Resolve by Arthur Paux. Post-production Supervisor Brice Leclert highlighted his team’s responsiveness in adapting the workflow and the smooth communication with the VFX crew. Our teams are incredibly proud to have contributed to the creation of Emilia Pérez’s captivating visual universe, and would like to thank Why Not Productions, Jacques Audiard, and Les Artizans for their continued trust. MORE ABOUT #EMILIAPEREZ: https://www.themill.com/work/emilia-perez ABOUT US The Mill is a world-leading creative studio built on nearly four decades of award-winning craft. Spanning Brand & Content and Film & Series, we create visually ambitious work for the world's most discerning brands, studios and storytellers — conceived from the outset to move across platforms, markets and audiences without compromise. FOLLOW US Website: https://www.themill.com/ LinkedIn: https://www.linkedin.com/company/the-mill Instagram: https://www.instagram.com/millchannel X: https://x.com/MILL__CHANNEL #TheMill #VFX #Brand #Content #Film #Series

The Duracell Bunny has been part of The Mill's story for over a decade, and every new campaign is an opportunity to push the craft even further. For the latest Bench Boost campaign, directed by our in-house Director Benjamin Lenfant, our teams brought the iconic bunny to life through every stage of the VFX pipeline, from concept and previs to animation, FX, lighting, compositing and final grade. This breakdown is a glimpse into the collaboration, artistry and technical expertise behind every frame. A huge thank you to Duracell and VML for their continued trust, and congratulations to everyone at The Mill who helped bring this project to life. MORE INFO & FULL CREDITS https://www.themill.com/work/duracell-bench-boost ABOUT US The Mill is a world-leading creative studio built on nearly four decades of award-winning craft. Spanning Brand & Content and Film & Series, we create visually ambitious work for the world's most discerning brands, studios and storytellers — conceived from the outset to move across platforms, markets and audiences without compromise. FOLLOW US Website: https://www.themill.com/ LinkedIn: https://www.linkedin.com/company/the-mill Instagram: https://www.instagram.com/millchannel X: https://x.com/MILL__CHANNEL #TheMill #VFX #Brand #Content #Duracell