Scanline VFX was founded in Munich in 1989, and now has studios in Los Angeles, Vancouver, Munich, and Stuttgart. The company recently completed work on Black Panther and Justice League, on which it was lead vendor, handling multiple hero character and vehicle assets, and providing almost 700 shots.

Scanline is noted for its complex, photorealistic effects and simulation work -- including natural phenomena such as fire, smoke and water – on films such as the disaster epic San Andreas and 2012 and Independence Day: Resurgence, both for director Roland Emmerich.
Scanline was the recipient of a 2008 Scientific and Technical Achievement Academy Award, in recognition of its proprietary, in-house fluid effects software Flowline. Scanline was sole developer of Flowline, which is used in various fluid effects like water and fire.
In 2010, the company was nominated for an Academy Award for Best Achievement in Visual Effects for its work on director Clint Eastwood's Hereafter, for which it was the sole visual effects vendor. The film's signature sequence was a recreation of the 2004 Indian Ocean tsunami, which TIME Magazine called “the most exciting, expertly assembled flood scene in movie history.”

Scanline received a second Academy Award nomination for Captain America: The Winter Soldier, a BAFTA nomination for Iron Man 3, an Emmy Award for Game of Thrones, Season 4, and a Visual Effects Society (VES) Award for Hereafter, as well as multiple, additional VES Award nominations.
Scanline opened its Los Angeles studio in 2007, followed by Vancouver in 2011. Both studios are overseen by President and Sr. VFX Supervisor, Stephan Trojansky. Trojansky was one of the recipients of the 2008 Scientific and Technical Achievement Academy Award for the development of Flowline, as well as an Oscar nominee for Hereafter.
Upcoming films include Tomb Raider, Ant-Man and the Wasp, the shark action-thriller The Meg, and Aquaman.
Past credits include Power Rangers, Batman v Superman: Dawn of Justice, and the Academy Award-nominated Guardians of the Galaxy Vol. 2.

Comments and Awards

Comments and Awards



"Industrial Light & Magic walked a fine line between reality and fantasy with director Ryan Coogler on Marvel's cultural phenomenon."

Indie Wire - ‘Black Panther’: How VFX Helped Build the Afrofuturistic Look of Wakanda

"In 2016, Bryan Grill explained the work of Scanline VFX on INDEPENDENCE DAY: RESURGENCE. He then worked on POWER RANGERS. He returns to the Marvel universe with BLACK PANTHER."

BLACK PANTHER: Bryan Grill – VFX Supervisor – Scanline VFX

Featurettes for Marvel Studios' Black Panther

ART of VFX - Black Panther

A look at Scanline VFX's work in GUARDIANS OF THE GALAXY VOL. 2

CG Society - GUARDIANS OF THE GALAXY VOL. 2: Scanline VFX Shot Breakdowns Reel

"Scanline VFX stepped up to the challenge, heading into the fray to tackle a variety of sequences that ranged from Superman’s heroics to Batman’s brutal beatdowns."

Thinkbox Software - Scanline VFX pits Batman v Superman with Deadline

"In October 2016, Jelmer Boskma told us about the work of Scanline VFX on MISS PEREGRINE’S HOME FOR PECULIAR CHILDREN. He speaks to us today about his return to the Marvel universe."


In this segment, Cebas interviews Joe Scarr, TP FX Supervisor at ScanlineVFX Vancouver, on his FX Team’s superb work on IDR.

In 2016 so far, we've had a blast working on "Batman v Superman: Dawn of Justice" and "Independence Day: Resurgence", and we are very excited about our current projects which include "Justice League", "Power Rangers", and "Guardians of the Galaxy Vol. 2". - Joe Scarr

Cebas: Exclusive Insights Interview with ScanlineVFX - Independence Day Resurgence effects & Flowline and thinking Particles 6.0

"In 2014, Bryan Grill had told us in detail about the work of Scanline VFX on CAPTAIN AMERICA – THE WINTER SOLDIER. He then worked on SAN ANDREAS. Today he explains his work on INDEPENDENCE DAY RESURGENCE."


Bryan Hirota had explained to us in detail in 2014 the work of Scanline VFX on 300: RISE OF AN EMPIRE. He then worked on IN THE HEART OF THE SEA. BATMAN V SUPERMAN marks his fourth collaboration with director Zack Snyder and VFX supervisor John DJ Des Jardin.

"This is the fourth project that I’ve worked on with DJ and Zack together. Having that amount of history definitely streamlines the process. Zack is one of the most dedicated and hardworking individuals you’ll come across. He has a talent for crafting interesting visuals. This enthusiasm and drive to achieve his vision affects the entire crew and encourages everyone to deliver their best. One of the finer qualities about both DJ and Zack are that they are very open and willing to consider ideas we’d present." -Bryan Hirota


Gallery of Images from ScanlineVFX

Chaos Group - Projects by ScanlineVFX

"Due to the fact that Scanline VFX is specialized in dynamic FX simulation (fluids, fire, smoke, snow), we were his first choice for the avalanche sequence." - Michel Mielke


"Over the course the months before the shoot started in July 2012, WB and Scanline refined the approach not only on how to shoot all this water action dry for wet in front of green screen, but we also started to develop the look of the 4 different battles: Circle-, Fog-, Fire- and Final-Battle." -Danielle Plantec


"For its work on four episodes of the series, Scanline joins two other Vancouver studios, Artifex and Zoic, in being nominated for a 2014 Emmy Award in Outstanding Special and Visual Effects. "

Vancouver FX houses up for Emmys

"Similarly, artists at Scanline created invisible effects for a zipline sequence.

A stunt girl performed much of the action. “The original idea was to shoot helicopter plates as she traveled on a zipline from the top of the Hancock building to an alley,” Berney says. “In the end, the studio wanted more, so we redid the whole scene with Scanline. We used the plates, but when the camera didn’t match the new action we projected photography onto geometry.” "

How They Did It: Divergent’s Mirror Room Sequence (and More)

"Scanline combined two real Sea Launch vessels – the Commander and Odyssey – into one for the S.H.I.E.L.D. ship.

The nighttime sequence begins on board a S.H.I.E.L.D. Quinjet before Rogers jumps out sans-parachute and the rest of the team follow. Scanline delivered shots of a CG jet pushing through clouds, with a digital Flowline-created ocean and CG Lemurian Star below. Rogers’ jump also made use of a Captain America digi-double."

Captain America: The Winter Soldier – reaching new heights

"We did a pretty cool, challenging sequence, where the Quinjet chases Steve Rogers as he flees on his motorcycle, as well as an Elevator Fight with extensive cg environment work, some fight enhancements, and some digital Steve Rogers shots. The opening sky dive and Lemurian Star hostage rescue was us, too, as well as lot of what you might call invisible “supporting visual effects.” We also supported the Marvel visual effects team on set both in Los Angeles and Cleveland. This included set photography,textures and set data wrangling."

CAPTAIN AMERICA – THE WINTER SOLDIER: Bryan Grill – VFX Supervisor – Scanline VFX

"Bryan and Scanline had to work up a nice sim to show there’s a little bit of ambient breeze or air current moving on the top of the water, which has some swell to it. Then all of a sudden it comes in and ripples the surface like a wind swell. That one took a little while to get; it can be a really subtle effect. It’s hard to get that to look right, but Bryan and Scanline did a great job of working through that development."

Co-VFX supervisor DJ DesJardin on ’300: Rise of an Empire’

"Much of Rise of an Empire takes place either on board Greek or Persian ships, and often when the vessels are crashing into each other. Scanline, with its rich history of water simulation technology in Flowline, handled these battles. To make them possible, the studio undertook a unique collaboration with The Third Floor for previs of the battles, and then embarked on creating different looks for each."

Inside the battles of 300: Rise of an Empire

"Flowline does not just simulate water, but also fire, clouds, dirt, mud, dust, you name it. Because of that, we are able to handle different types of simulations simultaneously. So we can have an oil simulation hitting the water and creating spray and bubbles and then catch fire and trigger explosion simulation… we can even have the blast from the explosion cause ripples in the water. There’s no limit to the combinations of interaction we can put into it."

300 – RISE OF AN EMPIRE: Danielle Plantec & Bryan Hirota – VFX Supervisors – Scanline VFX

"Scanline replaced the glass in the windows and broke it, added the garage in CG, and throughout added more destruction and debris, built the helicopters and fired missiles from them, destroyed a helicopter when Iron Man throws a missile back, tossed a piano into a helicopter to destroy another one, sent cars from Tony’s garage rolling out and down the cliff, built the Iron Man Mark 42 suit and then damaged it with bullet hits, and, finally, dropped Iron Man to the bottom of the ocean."

Stark Realities - Broken Home

"A company that heavily influenced the visual effects genre and contributed towards the technological edge is definitely Scanline VFX. Its fluid simulation flowline in particular is something that is internationally far and away the best."

Conquering the world, hot tyres and monster waves

"Scanline specializes in "hardcore FX". They built their reputation on fluid simulation, water, fire and destruction, but they have always done the full range of FX. It's my impression that clients go to them because they consider Scanline to be a sure thing when it comes to high-quality, complex FX work."

ScanlineVFX LA and Vancouver: Where the Sky Meets the Sea

"Scanline had previously worked on Marvel’s THE AVENGERS, and Victoria Alonso was a big fan our Helicarrier Take Off sequence... She was instrumental in getting VFX supervisor Chris Townsend and VFX producer Mark Soper to pay us a visit, tour the studio, and check out our latest work. Right from the start, they felt we were a good fit for the first big sequence in the film, the House Attack, and we were actually the first vendor on board."

IRON MAN 3: Bryan Grill – VFX Supervisor – Scanline VFX

"So this time we had to teach the water to behave exactly like the water in the plate. So it was exactly like creating a CG double of the water and we used all these control techniques we had developed in the past to actually constrain the water motion to reproduce exactly what the water did with the actress. "

The Oscars: Trojansky Talks \'Hereafter\'

"The big sequences, which are pretty impressive, I think, are the whirlpool at the head of the film and the storm sequences by Scanline...for the Bermuda Triangle storm, full CG environments, including water, atmospherics and 3D, 2.5D and 2D skies were created by Scanline (under the supervision of Bryan Grill and Stephan Trojansky). "

Tackling a New \'Gulliver\'s Travels\'

CG TALK: 300 Art Director Grant Freckleton

"... the boat FX? Full credit to Scanline in Germany. Those guys are CG fluid genuises. The bulk of the time of those shots were spent tweaking the comping end of things, because their CG water looked pretty much perfect from very early on. Again, refer to Cinefex for more in depth technical details."

"The Electronic Theater also presents a watershed year for fluid simulation in feature films. Scanlines 300´s Liquid Battlefield, Sony Pictures Animation´s Surf´s Up, and Digital Domain and Industrial Light and Magic´s Pirates of the Caribbean all feature uniquely executed but beautifully believable digital oceans and waves", added Debevec.

Siggraph Electronic Theater page
Animation World Network covers Siggraph 2007 Electronic Theater

What Visual Effects Spervisor, Chris Watts has to say "We teamed up with Scanline of Germany, which did some water work on Poseidon. They got it. We showed them the frame from the book and if you compare the frame from the book to the frame from the movie, it´s just amazing how they did it. Not only did they make completely convincing water and ships, but they also went through the trouble to make all this secondary animation of Persians falling off masts and smashing on rocks.

\'300\': It\'s Miller Time in CG

Scanline´s "Flow" in Siggraph 2006 Electronic Theater

Siggraph 2006 Electronic Theater

J. Paul Peszko dives into the extraordinary advances in CG water on display this summer in "Poseidon" and "Pirates of the Caribbean: Dead Man´s Chest".

*Water, Water, Everywhere ...*

Studio Daily´s Barbara Robertson covers Water Effects for Poseidon

Poseidon´s Wet VFX Work

VFX World interviews Stanford professor Ron Fedkiw and Scanline Production´s Stephan Trojansky about their advances in fluid dynamics.

Fluid Dynamics: A Look at Two Giants


Game of Thrones HBO Emmy: 2015 Winner, Outstanding Visual Effects
Game of Thrones HBO Visual Effects Society Awards: 2015, Outstanding Compositing in a Photoreal/Live Action Broadcast Program
Game of Thrones HBO Visual Effects Society Awards: 2015, Outstanding Visual Effects in a Visual Effects-Driven Photoreal/Live Action Broadcast Program
Pompeii Canadian Screen Award: 2015 Winner, Achievement in visual effects
Wolf of Wall Street Visual Effects Society Awards: 2014, Supporting visual effects in a feature motion picture
Iron Man 3 Marvel Pictures Visual Effects Society Awards: 2014,
Visual effects in a visual effects-driven feature motion picture
Battleship Visual Effects Society Awards: 2013, Outstanding Visual Effects in a Visual Effects Driven Feature Motion Picture
Hereafter Academy of Motion Pictures: 2010 Nominated for Best Achievement in Visual Effects
Hereafter Visual Effects Society: 2011 Winner, Best Supporting Visual Effects in a Feature Film
Stephan Trojansky, Thomas Ganshorn and Oliver Pilarski, for the development of the Flowline fluid effects system. Scientific and Technical Academy Award, 2008
300 Siggraph – Electronic Theater 2006
Monsters of the Sea (Imax) VES Award 2007
Die Sturmflut teamWorx/RTL animago AWARD 2006:
animago 3 und
1. Platz `Professional/Animation/Special Effects´
Dresden teamWorx/ZDF animago AWARD 2006:
2. Platz `Professional/Animation/Special Effects´
(T)Raumschiff Surprise - Periode 1 herbXfilm animago AWARD 2005:
1. Platz `Professional/Animation/Special Effects´
Megalodon - Hai-Alarm auf Mallorca action concept/RTL animago AWARD 2005:
2. Platz `Professional/Animation/Special Effects´
Held der Gladiatoren Grundy UFA / RTL animago AWARD 2004:
1. Platz `Professional/Animation/Special Effects´
Check-in To Disaster creaTV / PRO7 Siggraph – Electronic Theater 2002
animago AWARD 2002:
Hauptpreis `weisser animago´ und
1. Platz `Professional/Animation/Special Effects´
Der Schuh des Manitu herbXfilm animago AWARD 2002:
2. Platz `Professional/Animation/Special Effects´
Lego Driving School Legoland Deutschland animago AWARD 2002:
2. Platz `Professional /Animation/Visualisierung´
Die Todeswelle - Eine Stadt in Angst Vision Factory / SAT.1 Siggraph – Electronic Theater 2001
animago AWARD 2001:
animago 3A und
1. Platz `Professional/Animation/Visual Effects´
Nick Knatterton Helkon animago AWARD 2001:
2. Platz `Professional/Animation/Visual Effects´
Luftpiraten Telenorm / RTL animago AWARD 2000:
1.Platz `Professional/Compositing/Film´
Helicops II - Das Gold der Kleopatra Polyphon / SAT.1 animago AWARD 2000:
1. Platz `Professional/Special Effects/Film´
Logo-Spots RTL 2 RTL 2 animago AWARD 2000:
2.Platz `Professional/Animation/On-air-Design´
Logo-Spots RTL 2 RTL 2 animago AWARD 1999:
3. Platz `Professional/Animation/Logoanimation´
Helicops Polyphon / SAT.1 animago AWARD 1999:
1. Platz `Professional/Compositing/Film´
Im Kreislauf der Natur GBF / FWU Deutscher Wirtschaftsfilmpreis 1995 (2. Platz)
Musikstreifzüge ARD 1. Preis Imagina 1994
Siggraph - Electronic Theater
Pink Poodle / PRO 7 Dowsing & Leonard Clio Award 1992 / PRO 7