Brainy, emotional and beautiful to behold



Christopher Nolan


Emma Thomas, Christopher Nolan, Lynda Obst

Production Companies

Paramount Pictures, Warner Bros., Legendary Entertainment


Warner Bros., Paramount

Overall VFX Supervisor

Paul Franklin

Dneg VFX Supervisors

Andy Lockley

Dneg VFX Producer

Ann Podlozny

Chief Scientist

Oliver James

Release Date

7th November 2014

With our time on Earth coming to an end, a team of explorers undertakes the most important mission in human history; travelling beyond this galaxy to discover whether mankind has a future among the stars.

It’s no surprise that the film won this year’s Academy Award for Best Visual Effects. The “Interstellar” visual effects team truly pushed the boundaries of reality, vividly expanding our perception of the future — and what lies beyond our – Interstellar – Bridging Art and Science

Behind the imagery

Our DNEG crew, led by Overall VFX Supervisor Paul Franklin and DNEG VFX Supervisor Andy Lockley were tasked with the challenge of accurately depicting the film’s wormhole, its supermassive black hole (Gargantua), the Tesseract (a four dimensional space allowing time to be seen as a physical dimension), digital space vistas for projection on-set (no greenscreen was used in any of the space sequences), robots TARS and CASE and the population of alien worlds with giant waves and landscapes of frozen cloud and ice.

It was important that our work was scientifically accurate and Science Advisor and Executive Producer Professor Kip Thorne worked closely with our R&D Team led by Chief Scientist Oliver James along with CG Supervisor Eugénie von Tunzelmann to ensure our work was grounded in actual science. For Gargantua, a new relativistic renderer (Double Negative General Relativity – DnGR) was created which produced compelling imagery based directly on Professor Thorne’s own equations. The majority of Interstellar’s VFX shots were completed in 65mm IMAX at a resolution of 5616×4096 pixels.





Los Angeles