M3GAN 2.0 brings the world’s most unsettling AI companion back to the big screen – faster, more advanced, and more terrifying than ever. For FIN, the sequel was a chance to step things up, delivering close to 800 shots (with 350 full CG shots) and throwing every bit of creative and technical muscle into the mix.
Led by VFX Supervisor Rick van de Schootbrugge, VFX Producer Emily Higgins, and CG Supervisor Rob Grbevski, the FIN crew brought together over 100 artists to craft a huge range of effects, from high-impact action to subtle face replacements and everything in between.
At the core of the work was, of course, M3GAN herself. But this version of the character is a serious upgrade. Across the film, M3GAN appears in multiple forms – with three different faces, four full costume variations, and a robotic undersuit that revealed new layers of her evolving design. This wasn’t just a cosmetic makeover – the animatronic puppet was rebuilt for the shoot, meaning FIN had to rebuild all of their digital assets too. It was a completely new pipeline for a completely new M3GAN.
Each version came with its own movement style, materials, and challenges. Her hair alone featured up to four distinct grooms, each one needing to look flawless from every angle. In many shots, M3GAN is a composite of live-action actor Amy Donald, stunt doubles, animatronics, poseable dolls, and a fully CG double – with different elements blended together seamlessly within single sequences.
One of the most memorable sequences in the film is the dance – an instant classic. Originally shot on set with the actor, the creative team decided during the edit that they wanted to push the performance further. So FIN recreated the entire dance using mocap captured from a professional ‘robotic pop and lock’ dancer. The result? A brand-new version of M3GAN’s iconic choreography, rebuilt from the ground up with meticulous CG animation that hit every beat.
But M3GAN wasn’t the only robot demanding attention. The film also introduces AMELIA, her sleek and dangerous rival. FIN built digital doubles for AMELIA as well, handling everything from full-CG replacements to stunt double face swaps, lightning effects, glowing eyes, and intense final battle damage.
The final fight between the two robots was a huge visual highlight. The FIN team went all in with face replacements, energy effects, rig removals, and carefully crafted battle damage – adding layers of sparks, lighting bolts, and facial charring that helped sell the idea of two machines tearing each other apart. At one point, the director needed a clear moment to show that neither character was human. With limited time and budget, FIN leaned into creative problem solving to make that story beat land without slowing down the schedule.
Another standout moment came late in the game. A key set piece – the motherboard – wasn’t quite hitting the mark during the shoot. So FIN scanned the original and gave it a complete digital makeover, transforming it into something more impressive, intricate, and story-worthy. It’s a great example of how post could elevate the production value without needing to reshoot or redesign everything from scratch.
Timing-wise, this one was tight. The film was shot over three months in Auckland in mid-2024, with on-set supervision from Rick and Emily. Stu White and Emily also oversaw previs work in Wellington in late 2023. Although post ran for about nine months, the bulk of the work landed closer to the finish line – especially after reshoots early in the year added a hefty dose of VFX work just six weeks out from delivery.
To help meet the demands of the schedule, FIN incorporated Unreal Engine into their pipeline alongside Maya, Houdini, and Nuke. Unreal was used for previs and environment work – particularly during the wingsuit sequence. It gave the team speed, flexibility, and rendering power that made tight-turnaround sequences possible without blowing the budget.
In the end, much of FIN’s contribution went beyond the brief. From enhancing practical sets to reimagining scenes in post, the team helped expand the creative potential of the film at every turn. Even when something wasn’t in the original plan, they found a way to make it work – and to make it better.
M3GAN 2.0 is a wild, slick, high-energy sequel, and FIN was thrilled to help bring it to life with visual effects that matched the ambition of the film. It was a huge effort, but one that delivered in all the right ways – bigger, bolder, and way more badass than before.
