She’s back. Faster, scarier, and with way more attitude.

When we jumped into M3GAN 2.0, we knew we had to raise the bar. Our crew of more than 100 artists delivered close to 800 shots (including 350 full CG), and pretty much every trick in the VFX playbook made an appearance.

The biggest challenge? M3GAN herself. For the sequel, she got a serious upgrade: new faces, new costumes, even a robotic undersuit. Because the animatronic puppet was rebuilt for the shoot, we had to rebuild all of our digital assets from scratch. Basically, a brand-new pipeline for a brand-new doll.

She wasn’t just one version either. Sometimes she was actor Amy Donald, sometimes a stunt double, sometimes animatronic or doll, and plenty of times a fully CG double. In a lot of shots, she was a mix of all of the above, stitched together so seamlessly you’d never know. Her now-famous dance? That got a full makeover too. We rebuilt it in CG using motion capture from a professional “pop and lock” dancer to give it even more robotic flair.

Of course, M3GAN wasn’t alone. We also brought AMELIA, her sleek rival, to life. From glowing eyes to sparks and battle damage, the final showdown between the two robots was one of our biggest set pieces - face swaps, energy effects, and layers of detail that really sold the chaos.

And sometimes the little fixes were just as satisfying. The on-set motherboard prop wasn’t quite hitting the mark, so we gave it a full digital makeover - turning it into a far more intricate and cinematic moment without the need for reshoots.

The schedule was tight - especially with late reshoots adding more work just six weeks before delivery - but tools like Unreal Engine gave us speed and flexibility when we needed it most.

For us, M3GAN 2.0 was the perfect chance to push things further. It was bigger, bolder, and way more badass - and we loved every second of bringing her (and her nemesis) to life.