Spain has emerged as a dominant force in the world of comics and visual effects (VFX), taking its place alongside the mainstream giants of the United States. This creative explosion, however, isn’t limited to Spain alone. Many talented individuals from the Spanish VFX industry have made significant strides internationally. One such VFX powerhouse is The Ranchito . Founded in 2004 by Félix Bergés , The Ranchito has rapidly evolved into a leading VFX studio , boasting more than 200 skilled employees. Their impressive portfolio includes prominent films and series like *The Snow Society*, *Jurassic World: Fallen Kingdom*, *Game of Thrones*, *Stranger Things*, and *The Mandalorian*.
Each success story has its turning point , and for The Ranchito, it was the film *The Impossible* directed by Juan Antonio Bayona . During our conversation with two studio members, Isaac de la Pompa and Sofia Balestrini , they recounted their experience working on the film. “Bayona had previously collaborated with Félix Bergés on *The Orphanage*, and when it came to *The Impossible*, he brought him back on board,” they explained. This film was notable for its Old School effects , focusing on real water in a controlled setting. The results were so outstanding that they garnered the attention of Industrial Light & Magic (ILM) , the prestigious effects company behind countless Lucasfilm projects, which requested a screening.
What impressed the experts at ILM? “The filming took place in a pool in Valencia. We bought specialized software to simulate water and waves, but not a pixel was added digitally. The only enhancement made was to the foam on the waves, which was a blend of real footage and computer-generated effects.” The film opened to great acclaim , sweeping box office records worldwide and winning the Best Supporting Effects award from the Visual Effects Society in 2013. Following this recognition, The Ranchito received a flood of inquiries from across the globe.
According to de la Pompa and Balestrini, this was a pivotal moment: “Before *The Impossible*, Félix tried countless times to penetrate the American market, but to no avail. That one award made all the difference.” The studio’s competitive pricing also played a crucial role as it was more economical than labor in Los Angeles during that time. “Back then, LA was saturated with work; now the industry has become globalized,” they noted.
The Ranchito soon found itself taking on larger projects, including *Game of Thrones*. “We were initially unsure of how to execute Chapter eight of season five, but Félix had a confident demeanor and agreed. It was daunting for us, being a Spanish company with no prior experience handling such a monumental project,” they explained. HBO had sent them a test consisting of a clip from Season 4 involving skeletons, suggesting they animate and compose this complex scene.
As they navigated through international collaborations, opportunities from major franchises continued to arise, notably *The Mandalorian*. “There were certain effects that ILM couldn’t complete in time, and they called us in. Most notably, we designed ship effects,” they said. This experience even led them to an exciting moment when they had a video conference with John Knoll , ILM’s Creative Director, which they described as surreal. https://www.youtube.com/watch?v=poabrzph2bg
The Future of Special Effects
The next logical question is: What does the future hold for the VFX industry , especially given the rise of artificial intelligence? “Right now, we aren’t seeing a full-blown transformation, but there are tools emerging that simplify certain tasks. For instance, creating masks used to be a painstaking, frame-by-frame job, and now AI can handle it automatically,” they elaborated. However, there are limitations. “While AI has enormous potential, it’s still in the early stages,” they warned, highlighting both technical and legal constraints surrounding the use of AI in visual effects.
They further emphasized, “Many current VFX artists might need to adapt their skills, especially 3D modelers who may face impending obsolescence as AI capabilities improve.” Yet they cautioned, “AI can sometimes struggle with what may seem like minor details, and the legal landscape around AI is murky at best.”
They explained that current AI models thrive on extensive datasets often sourced without permission, resulting in highly sophisticated outputs. “For us, the challenge remains in navigating the legal complexities that prevent us from accessing these resources, which could hinder our development in the VFX field for years to come,” they concluded.