Canada
How Digital Domain Turned the World into a Video Game for ‘Free Guy’

In 20th Century Studios’ Free Guy, the lines between real and digital are deliberately blurred, with the focus jumping between live-action and CG based on the point of view of the characters. For the filmmakers, it was like creating two movies in one, each requiring different techniques, from replacing actors with digidoubles to creating entire CG cities. With only a handful of visual effects studios in the world capable of doing it all, 20th Century Studios turned to veteran VFX house and Oscar® winner, Digital Domain.
“We worked closely with Shawn Levy and the filmmakers to essentially create Free City twice, once by augmenting live-action footage with digital additions, and again as a fully CG environment right out of a video game,” said Nikos Kalaitzidis, Digital Domain VFX supervisor. “There’s really nothing else out there that is quite like it, and that allowed us to do things we’ve never done before.”
The Two Sides of Free City
Free Guy begins with a live-action introduction to the metropolis of Free City, as one of the game’s top players makes his dramatic entrance. As the character “BadAss” plummets toward the city, filmmakers used a combination of digital and practical effects, beginning with footage of the actor in a wire harness suspended by a retractable crane. BadAss soon turns his descent in a low-opening skydive, featuring a CG parachute, landing perfectly in a waiting convertible supercar. To make the transition from the fall to the landing, artists at Digital Domain created digidoubles of the actor, making an otherwise impossible stunt seem natural.
As the car speeds off into Free City, the filmmakers used a multi-camera rig and a crane on the car itself to film on the streets of Boston and against green screens. Digital Domain took that real footage of the car, the actor and the actress in the passenger seat, and created a new set of digi-humans for each performer, along with a CG model of the car. They then switched between live-action and digidoubles as the car dodges grenades, crowds, trees, motorbikes and more, all added by Digital Domain. Using a combination of live city footage with plates and CG buildings, the scene then pans up and through the window of the film’s protagonist Guy (Ryan Reynolds), as he awakes blissfully unaffected by the insanity around him.
Digital Domain began with previsualization, providing the filmmakers with multiple iterations of the city and what the world in general looked like, from both the live-action and game sides. Once Guy begins to gain notoriety, players frequently see his avatar wandering through the digital version of Free City. To create the game setting, Digital Domain used the previs assets, and built over 89 3D environments, created from modular buildings, then altered with different textures and materials. Artists then added individual flourishes by hand to replicate and stylize the real-world locations, including storefronts, residential and commercial buildings and more.
Mixing Worlds
To populate the digital version of Free City, Digital Domain created digital versions of many of the characters, including Guy. To create the digital protagonist, Reynolds went to Digital Domain’s motion capture stages, where the actions for his movements were recorded and added to a library. He participated in a series of facial scans, all of which were combined to create a game-version of Guy that was similar to Reynolds, but slimmed down and stylized.
With Guy’s legend growing, the two worlds blur more and more, leading to a confrontation at a construction site. As two players sent by the developers – one dressed as a pink bunny, the other as a cop – chase Guy into an unfinished skyscraper, Digital Domain created both the interior and exterior of the building. The actors then performed in front of green screens and physical set pieces, allowing the filmmakers to create a superhuman chase.
As the action progresses upward, Guy jumps from floor to floor with inhuman ability, dodging weapons fire throughout. To allow Guy to move with unnatural movement, Digital Domain introduced a digidouble of Reynolds, while also adding additional props and environmental damage to fill out the scene. The environment then begins to morph thanks to the machinations of the game’s programmers. Digital Domain then ensured the shifting building retained the proper scale against the actors, while artists continually adjusted the lighting and textures. Guy eventually reaches the top of the building, where drone and helicopter footage was used to convey the sense of movement. It also gave a foundation for the live-action world outside, which was altered to reflect the fictional city’s skyline.
After falling from the building, Guy selects a “bubble suit,” which allows him to bounce safely – if awkwardly – toward the ground. To create the scene, the filmmakers used a stunt performer on wires positioned against a green screen for close shots, and a digidouble version of Reynolds for the wide shots and the more extreme bounces. Reynolds himself was then filmed in a prop bubble to show Guy after reaching the ground. The footage was then combined with recordings of a fast descent captured by a drone.
Digital Domain also helped to create Free City’s “Multiplayer Lounge,” a location where avatars can mingle, explore in-game weapons and watch feeds of the game world on large jumbotron screens. The multi-story structure regularly features dozens of players, all of which were recorded separately against a blue screen and added later by Digital Domain. The footage of the game – including a memorable moment when the live-action Guy sees a digital version of himself – were also provided by the VFX studio.
Along with the digital version of the main actors, Digital Domain also created an additional 46 3D hero and background assets to help populate Free City.
The End of the World
When Guy grows too popular, the developers decide to reboot the game and start over. The sequence needed a unique look that still honored the game motif, so Digital Domain went back in time. Artists referenced low-res texture mapping and glitches from 80s video games.
The deletion of the world was completed using a relatively new technique known as “data-moshing,” where movement in one layer of footage is applied to another. The result is a scene that looks as if a digital video has been pixelated and damaged. To create this effect, Digital Domain used Houdini to render low-res texture maps, while combining it with Nuke. After a psychedelic final swirl, the world disappears, leaving a white void where only Guy remains.
Rebuilding Actors
Along with the traditional digidouble work and animated characters, Free Guy also marks one of the first feature film uses of Digital Domain’s proprietary face-swapping tool, Charlatan. Utilizing neural networks, Charlatan takes existing footage and analyzes the movements down to the minutia. Artists then introduce a new face digitally constructed by hand, and the neural network in Charlatan matches it with the existing footage, replacing the original performance. Artists can then alter the facial movements to incorporate new expressions.
Late in the film, BadAss gives a speech with far-reaching implications. It’s vital to the plot and tone, and after seeing the finished results, the filmmakers decided that they needed to change the dialogue and add to it for the scene to have the necessary impact. Rather than schedule a new series of reshoots and force the actor back to read a handful of lines, various methods of animating the digital character were employed, with none producing a realistic and acceptable result. So Digital Domain decided to try Charlatan.
Artists created a new facial model of BadAss by hand, then used Charlatan to combine it with the original performance. Once the neural network was able to link the two and replace the original animation, the results were a more realistic digital avatar that could then mimic the actor’s facial mannerisms and movements to mimic reading the new lines. The actor then later recorded the new dialogue in ADR.
“Free Guy was an ambitious project that required expertise in multiple techniques and disciplines to make it. And that’s exactly what Digital Domain was built for,“ said John Fragomeni, global VFX president at Digital Domain. “We worked closely with the filmmakers to help create a unique look and feel for the live-action world of Free City and the gameplay world, and we think audiences are going to be blown away by what they see.”
Free Guy is in theaters now.
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AGCO
AGCO Fines Great Canadian Casino Resort Toronto $350,000 for Serious Regulatory Violations Linked to Impromptu After-Party on Gaming Floor

The Alcohol and Gaming Commission of Ontario (AGCO) has issued monetary penalties totaling $350,000 against Great Canadian Casino Resort Toronto for multiple violations of provincial gaming standards. The penalties follow an impromptu after-party that was permitted to take place in the pre-dawn hours directly on the casino’s gaming floor.
On September 27, 2024, an electronic dance music event attended by thousands of people was hosted in the theatre adjacent to the casino at Great Canadian Casino Resort Toronto. The event was marked by widespread intoxication, disorderly behavior, and numerous criminal and medical incidents – both inside and outside the venue – including alleged assaults, drug overdoses, and acts of public indecency. Although paid duty officers were present, additional police and emergency services were required to manage the situation.
In the midst of this high-risk environment, casino management approved an unscheduled request by the performing artist to host an after-party on the active gaming floor. The artist and more than 400 guests were permitted onto the gaming floor where the artist was allowed to perform amidst operational table games and gaming machines – without any prior risk assessment or planning.
As a result, security personnel were unable to effectively control the casino floor, including witness reports that an attendee was seen climbing onto slot machines. Failure to maintain appropriate control compromises the security, safety, and integrity of the casino floor. Following the conclusion of the event, the operator failed to promptly report these incidents to the AGCO as required.
Based on the findings of its review, the AGCO’s Registrar has issued an Order of Monetary Penalty (OMP) totaling $350,000 against Great Canadian Casino Resort Toronto. These penalties address critical failures in their operations, incident reporting, employee training, and the management of disturbances.
A gaming operator served with an OMP has 15 days to appeal the Registrar’s decision to the Licence Appeal Tribunal (LAT), an adjudicative tribunal that is part of Tribunals Ontario and independent of the AGCO.
“Casino operators have a fundamental duty to control their gaming environment. Great Canadian Casino Resort Toronto’s lapses in this incident compromised the safety of patrons and the security and integrity of the gaming floor,” Dr. Karin Schnarr, Chief Executive Officer and Registrar of AGCO, said.
The post AGCO Fines Great Canadian Casino Resort Toronto $350,000 for Serious Regulatory Violations Linked to Impromptu After-Party on Gaming Floor appeared first on Gaming and Gambling Industry in the Americas.
Canada
IGT and Atlantic Lottery Sign Eight-Year Video Lottery Central System Technology Agreement

International Game Technology PLC announced that its subsidiary, IGT Canada Solutions ULC (hereinafter “IGT”), signed an eight-year agreement with Atlantic Lottery to supply its IntelligenEVO video lottery central system technology across Atlantic Canada. The agreement includes the option for multiple extensions and positions the Atlantic Lottery to become the first World Lottery Association (WLA)-affiliated lottery operator to deploy IGT’s next-generation central management system in a game-to-system (G2S) distributed market.
“By leveraging IGT’s IntelligenEVO technology, Atlantic Lottery will power its video lottery network with the industry’s best-in-class central system and position itself to maximize future contributions to good causes. As an organization that prioritizes system security and exceptional player experiences, Atlantic Lottery believes that IGT’s IntelliegnEVO solution will help generate high player satisfaction and optimal network performance,” said Michael MacKinnon, Atlantic Lottery VP, Product.
“As a long-time supplier to Atlantic Lottery, IGT looks forward to helping the Lottery achieve its growth and player engagement goals with our leading-edge IntelligenEVO video lottery central system. IGT’s IntelligenEVO is a scalable technology for the WLA market that is backed by decades of experience and operator feedback, and maximizes the benefits of real-time data, cloud-based technologies and in-depth analytics,” said David Flinn, IGT SVP Canada, EMEA and LATAM, Gaming Sales.
With peak system security, network availability and responsible gaming functionalities, IntelligenEVO is a reliable, scalable solution that can meet the needs of today and in the future. The solution will accelerate time-to-market and enables the Atlantic Lottery to benefit from the system’s suite of player-focused functionality. The technology’s G2S and open API design optimizes data collection and delivery and will enable Atlantic Lottery to customize their program for evolving player needs.
The post IGT and Atlantic Lottery Sign Eight-Year Video Lottery Central System Technology Agreement appeared first on Gaming and Gambling Industry in the Americas.
BetRivers
NetGaming Goes Live in Ontario with Rush Street Interactive via BetRivers Platform

NetGaming, a fast-growing online casino content supplier, is proud to announce its launch in Ontario with Rush Street Interactive, Inc., a leading online casino and sports betting company in the United States, Canada and Latin America. This strategic collaboration marks a significant milestone for NetGaming as it continues to expand its footprint across regulated North American markets.
As part of the launch, Ontario players on BetRivers can now enjoy a diverse portfolio of NetGaming titles, known for their high-quality graphics, immersive gameplay, and unique themes. Standout games such as Zeus’s Thunderbolt, Bison Gold, and Fireball Inferno are among the first to go live, with additional titles set to follow soon.
This partnership is just the beginning. NetGaming plans to extend its collaboration with Rush Street Interactive into Michigan, New Jersey, Pennsylvania, Delaware, and Mexico over the coming months.
Pallavi Deshmukh, CEO of NetGaming, commented: “We are thrilled to go live with Rush Street Interactive, a powerhouse operator with a strong presence and loyal player base. This launch marks a significant milestone in our
North American expansion strategy and underscores our commitment to delivering exceptional gaming experiences tailored to local player preferences across the region.”
Richard Schwartz, CEO of Rush Street Interactive, commented: “We are pleased to partner with NetGaming to bring innovative, premium games to our players in Ontario. This collaboration aligns with our strategy to offer world-class
entertainment through engaging, action-packed online casino games. We look forward to expanding this partnership into additional regulated markets in the months ahead.”
This strategic partnership highlights both companies’ dedication to providing high- quality, innovative, and responsible entertainment to players in regulated markets.
The post NetGaming Goes Live in Ontario with Rush Street Interactive via BetRivers Platform appeared first on Gaming and Gambling Industry in the Americas.
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