• The Chronicles of Riddick
• 2 Fast 2 Furious
• The Core
• Blue Crush
• Undercover Brother
• Showtime
• Red Planet
• X-Men
• Woman on Top
• Deep Blue Sea
• For the love of the Game
• Paulie
• Titanic
• For Richer or Poorer
• My favorite Martian
• Showgirls
• Me, Myself, and Irene
• Practical Magic
• Batman and Robin
• U-Turn

• American Wedding
• X2
• White Oleander
• Delusion
• Joe Somebody
• Tuxedo
• The Fast and the Furious
• Dr. Dolittle 2
• US Marshals
• Sphere
• Flubber
• Spawn
• Behind Enemy Lines
• A Vampire in Brooklyn
• Nixon
• Kazaam
• Romeo and Juliet
• Dragonheart
• Up Close and Personal
• The Birdcage

Universal Studios hired Hammerhead Productions to create the world of the Necromongers in the sequel to Pitch Black, The Chronicles of Riddick.

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For American Wedding, Hammerhead Productions was asked to augment the steam covering a window in the "peeping tom" sequence at the end of the film.

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Hammerhead Productions created roughly 150 shots in the "Bridge Race" sequence of 2 Fast 2 Furious.

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For the sequel to the original X-men, Hammerhead Productions was again asked to contribute roughly 20 shots of Wolverine's claws, both extended and in action for X2.

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For The Core, Hammerhead Productions was asked to help create the destruction of Rome.

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Hammerhead contributed a half dozen shots to White Oleander in two sections of the film.

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Hammerhead Productions provided visual effects design and production for Delusion, a short film directed by Jason Heightman.

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Hammerhead created a single but important shot for the film Tuxedo.

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Hammerhead Productions provided over a dozen shots for Blue Crush, supervised by Jon Farhat.

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Hammerhead Productions provided the climactic shot for the demise of "Feather" in Undercover Brother.

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Hammerhead Productions created one shot for the FOX film, Joe Somebody.

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Hammerhead delivered over 120 shots for Showtime, including a series of dramatic composites for the film's finale. We created a variety of fully CG elements for these shots, including helicoptors, water, and the rooftop pool area.

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For The Fast and the Furious, hammerhead productions delivered 70 visual effects shots. They were primarily in the "das boot" sequence...

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Hammerhead was approached by Rhythm & Hues Studios to assist on the production of 25 visual effects shots for Dr. Dolittle 2.

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hammerhead created 70 visual effects shots for the Warner Brothers film, Red Planet.

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X-Men was released on July 14, 2000 to the largest opening weekend gross of any non-sequel film, and Hammerhead created the effects for over 100 of it's shots.

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Hammerhead did the majority of the visual effects work for the romantic comedy Woman on Top, starring Penelope Cruz.

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With Hammerhead's interest in all things shark, we were interested in Deep Blue Sea from the start, and were the primary vendor of CG sharks for the production.

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In For Love of the Game, we created CG baseballs for shots when the motion of the ball was too specific to be captured during photography, or when the desired ball trajectory might have put an actor's safety at risk.

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Supernova is a film that Hammerhead produced, and while Digital Domain is responsible for the bulk of the effects, we pitched in on a few sequences.

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For Paulie, we animated the beak of the lead character for 12 shots during the final scene of the movie.

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For U.S. Marshals, we created smoke and debris elements to add to a motion control shot of an explosion on a passenger jet.

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A last minute change to the ending for Sphere, led to the series of composites we quickly did for this movie.

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In Flubber, we created 25 shots of the green goo that the film is named after.

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For Jim Cameron's epic Titanic, we did a few shots of dolphins, as well as one of the transitions of part of the ship from the present to the past.

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Spawn was directed by a good friend of ours, Mark Dippe. He wanted to make the eyes of the title character a little more interesting, but didn't have much time or money.

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Summary

We've had a great time working on these films, and have enjoyed seeing our abilities to create top-quality effects quickly, and relatively inexpensively, proven in production. Since the ability to produce effects is our core talent, we know that any movies that we create ourselves will have a large visual effects component, and the experience of working on films like the ones listed here, helps us to refine our production process.

Supernova

Bram Stoker's Shadowbuilder