RUSE

War Machine

Post

Post: Ruse with Aurora AI

Every Ruse production now has a feature-film post house behind it.

Feature VFX · CGI · AI · Finishing

Feature-film post, at the speed of commercials.

Ruse Pictures has partnered with Aurora AI, the Sydney studio founded by visual effects architect Yan Chen. Our productions now draw directly on Aurora’s artists and pipeline: full VFX and CG, compositing and finishing, and generative tools Aurora builds in house.

Aurora’s artists work the way our directors do. They move between CG, AI and compositing inside a single shot, choosing whichever tool serves the image. When a job calls for more hands, a full team comes on without a change of pipeline.

The result is scale when a campaign runs to hundreds of deliverables, and a pipeline fast enough to leave more of the schedule for the work itself.

Yan Chen

Visual effects architect · Founder and CEO, Aurora AI

Twenty-five years inside the biggest pipelines in film.

Yan Chen has built and run the technology behind feature films since the late 1990s: engineer on Disney’s Fantasia 2000 and Dinosaur, digital artist on The Matrix Reloaded, lead technical director on DreamWorks’ Shark Tale, digital supervisor on Happy Feet Two.

More recently he was visual effects architect on George Miller’s Furiosa: A Mad Max Saga, and worked on previs for Timur Bekmambetov’s Mercy and Frank E. Flowers’ The Bluff. On Patrick Hughes’ War Machine for Netflix, Aurora was one of the production houses, with Yan as head of production: previs, postvis and the final visual effects of the white-water rapids sequence. Through Aurora he brings that experience to the pipelines now changing the medium, where CG, generative AI and compositing work as one. He also sits on the advisory board of the OMNI International Film Festival and is one of its judges.

  • Poster for War Machine: a soldier crouched in smoke beneath red lights.

    War Machine

    Patrick Hughes

    Aurora AI: previs, postvis and visual effects

  • Poster for Mercy: Rebecca Ferguson’s face over a burning Los Angeles, Chris Pratt armed in the foreground.

    Mercy

    Timur Bekmambetov

    Previs

  • Poster for Furiosa: A Mad Max Saga: Anya Taylor-Joy as Furiosa above the title, the War Rig crew below.

    Furiosa: A Mad Max Saga

    George Miller

    Visual effects architect

  • Poster for The Bluff: Priyanka Chopra Jonas and Karl Urban locked in a struggle, spray flying.

    The Bluff

    Frank E. Flowers

    Previs

Also: The Matrix Reloaded · Shark Tale · Happy Feet Two · Astro Boy · Bee Movie · Fantasia 2000 · Dinosaur · Treasure Planet · 102 Dalmatians

Post Production Network

Around Aurora sits the wider network: the editors, colourists, artists and mixers we have worked with for more than twenty-five years across Sydney, Bangkok and Shanghai, in studio and fully remote. Every one of them is vetted and highly skilled, and alongside them is the next generation of talent working in AI.

An editor at a two-monitor desk in a dark edit suite, a car commercial on the wall screen above.

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Edit

Offline and online editors across commercials, music video and long form.

Offline suites are available for client presentations, or the edit can run fully remote.

A colourist's hands on a grading panel, a graded street scene on the reference monitor and the grading software on the screen beside it.

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Colour

Colourists grading in DaVinci Resolve, from suites in Sydney and Bangkok.

Everywhere else, the grade runs as a remote session.

A CG artist at two monitors in a darkened studio, a car model on one screen and a compositing node graph on the other.

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VFX & CGI

Led by Aurora AI. For all the recent advances in generative AI, nothing beats the precision of 3D.

Multidiscipline artists in Maya, 3ds Max, Blender and Nuke, moving between CG, AI and compositing in the same shot.

Rows of Mac Studio computers in a rack, a cluster dashboard glowing on a monitor behind them.

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Generative AI

Directed generative AI pipelines, AutoGen among them, are the future of commercial film production.

Fast iteration, significant cost savings and massive scale, all running on local compute.

A mixer at a large console in a timber-lined mix room, a desert scene on the projection screen.

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Sound & Music

Sound design, mix and original composition for commercials and film.

In studio or fully remote.