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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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Innovative iGaming studio Peter & Sons has strengthened its North American footprint by launching its portfolio in Ontario through a new partnership with Ellipse Entertainment, a fully licensed operator in the province.
The collaboration marks another step in the studio’s international expansion, bringing its distinctive slot titles to one of the most dynamic regulated markets in North America. Players in Ontario can now access Peter & Sons’ games via HighFlyerCasino.com, Ellipse Entertainment’s flagship platform designed specifically for the local market.
Entering a Key Regulated Market
Ontario has quickly established itself as a leading jurisdiction for regulated iGaming, attracting both operators and content providers seeking long-term growth opportunities. With a strong regulatory framework and a growing player base, the province offers a stable environment for companies looking to scale their presence in North America.
By partnering with Ellipse Entertainment, Peter & Sons gains access to a platform that prioritizes compliance, security, and user experience. HighFlyerCasino.com combines a wide-ranging portfolio of casino content with a seamless interface tailored to local players, ensuring a high-quality gaming experience.
Distinctive Content Meets Local Demand
Peter & Sons has built a reputation for delivering unconventional slot experiences, characterized by indie-inspired visuals, imaginative storytelling, and highly detailed game worlds. Its portfolio stands out in a crowded market, appealing to players looking for something beyond traditional slot design.
The launch in Ontario introduces these unique titles to a broader audience, aligning with increasing demand for diverse and engaging content within regulated markets. As competition intensifies, distinctive game design has become a key differentiator for studios aiming to capture player attention and retention.
Building a Long-Term Partnership
The partnership reflects a shared commitment to delivering premium entertainment within a trusted regulatory environment. Both companies are focused on creating value for players while ensuring compliance with Ontario’s gaming standards.
Yann Bautista, Founder and Commercial Director at Peter & Sons, said:
“We are delighted to launch our portfolio with Ellipse Entertainment and bring our games to players in Ontario. The region has quickly established itself as a key regulated market in North America, and HighFlyerCasino.com provides a strong platform for introducing our distinctive titles to Canadian audiences.”
Larry Galansky, Founder of Ellipse Entertainment, added:
“We are pleased to welcome Peter & Sons to our platform as we continue expanding our entertainment offering. Their games are known for their artistic style and engaging gameplay, and we are confident they will resonate strongly with our audience.”
As the Ontario market continues to grow, partnerships like this highlight the importance of combining innovative content with reliable distribution platforms. For Peter & Sons, the move represents a strategic step toward strengthening its global reach while delivering its unique gaming experiences to new audiences.
The post Peter & Sons Goes Live in Ontario with Ellipse Entertainment appeared first on Eastern European Gaming | Global iGaming & Tech Intelligence Hub.
Innovative iGaming studio Peter & Sons has strengthened its presence in the Canadian market after launching its portfolio with Ellipse Entertainment, a fully licensed operator in Ontario.
Ellipse Entertainment operates within the province’s regulated gaming framework and provides players with access to its flagship platform HighFlyerCasino.com. The site combines a diverse portfolio of casino titles with a secure, seamless, and fully compliant gaming experience tailored specifically for players in the Ontario market.
Ontario has rapidly emerged as one of North America’s most progressive regulated iGaming jurisdictions. Players across the province can now enjoy a selection of Peter & Sons titles through HighFlyerCasino.com, bringing the studio’s distinctive game worlds and mechanics to a growing audience of Canadian players.
Renowned for its catalogue of indie-inspired creations, offbeat characters, and meticulously crafted game worlds, Peter & Sons continues to push boundaries in slot design and entertainment. By joining forces with Ellipse Entertainment. a platform committed to delivering premium gaming experiences within a trusted regulatory environment, the studio looks forward to building a long-term partnership in the Ontario market.
Yann Bautista, Peter & Sons Founder and Commercial Director, said: “We are delighted to launch our portfolio with Ellipse Entertainment and bring our games to players in Ontario. The region has quickly established itself as a key regulated market in North America, and HighFlyerCasino.com provides a strong platform for introducing our distinctive titles to Canadian audiences.”
Larry Galansky, founder of Ellipse Entertainment added: “We are pleased to welcome Peter & Sons to our platform as we continue expanding the entertainment offering available to our players. Their games are known for their distinctive artistic style and engaging gameplay, and we are confident they will resonate strongly with our audience.”
The post Peter & Sons Goes Live in Ontario with Ellipse Entertainment appeared first on Americas iGaming & Sports Betting News.
Bragg Gaming Group has announced its financial results for the fourth quarter of 2025.
Fourth Quarter 2025 Financial Highlights:
• Revenue Growth: Record total quarterly revenue of €27.7 million in the fourth quarter:
• Revenue increase of 5.1% (excluding The Netherlands) compared to the prior year period in 2024;
• The Netherlands revenue decreased 4.6% year-over-year due to the market’s overall contraction caused by increased regulation and higher taxes;
• Brazil revenue increased 42.1% compared to the 2024 fourth quarter with continued growth in provider onboarding; and
• US recurring revenue grew 55.0% year-over-year, driven by expanded high-margin proprietary content footprint; and
• Including the impact of The Netherlands, total revenue grew 1.9% year-over-year.
• Operating Loss, Net Loss and Adjusted EBITDA: Operating loss for the quarter was €0.1 million, a €0.6 million improvement from an operating loss of €0.7 million in the same period of 2024. Net loss for the quarter was €1.3 million, or €0.05 per common share, compared to €0.7 million, or €0.03 per common share, in the same period of 2024. Adjusted EBITDA for the 2025 fourth quarter was €4.6 million (representing an Adjusted EBITDA Margin of 16.5%), compared to €4.7 million (representing an Adjusted EBITDA Margin of 17.2%) in Q4-2024.
• Strategic Market Expansion in the US and Brazil: Expanded U.S. content footprint through the launch of its exclusive and bespoke online casino content with Caesars Entertainment in West Virginia. Bragg also launched exclusive and aggregated content with several valued clients operating in Brazil (and other key LatAm jurisdictions), including Brazino777, Blaze, and Super Technologies.
Full Year 2025 Financial Highlights:
• Revenue Growth: Record total annual revenue of €106.1 million in 2025, an increase of 4.0% compared to €102.0 in the year ended December 31, 2024.
• Operating Loss, Net Loss and Adjusted EBITDA: Operating loss for 2025 was €5.3 million, compared to €3.5 million in 2024. Net loss for 2025 was €8.1 million, or €0.32 per common share, compared to €5.1 million, or €0.21 per common share, in 2024. Full year 2025 Adjusted EBITDA was €16.6 million (representing an Adjusted EBITDA Margin of 15.6%), compared to €15.8 million (representing an Adjusted EBITDA Margin of 15.5%) in 2024.
• Balance Sheet Strength: During the year ended December 31, 2025, the Company fully repaid a US$7.0 million secured promissory note and entered into a financing agreement with a Tier One Canadian financial institution for certain revolving credit facilities in a maximum aggregate amount of up to US$6.0 million, replacing its prior debt at less than half the borrowing cost. During the second half of the year, the Company drew C$4.5 million in principal and US$1.1 million in overdraft in respect of Term CORRA loans. Cash and cash equivalents as of December 31, 2025 amounted to €6.7 million.
Fourth Quarter 2025 and Recent Business Highlights:
• Bolstered Leadership Team: Appointed Morten Tonnesen as its new Chief Operating Officer and promoted Garrick Morris to the position of Executive Vice President of Global Content, US & Canada.
• Player Account Management (PAM) Expansion in Europe: Announced the extension of its existing PAM platform agreement with valued client 711.nl to include the regulated Belgian iGaming market, with potential for future Bragg-powered online casino launches in additional regulated or newly regulating iGaming markets. Also, extended its existing PAM agreement with Entain Plc (LSE: ENTL), one of the world’s largest sports betting and gaming groups for BetCity.nl, a leading Dutch market operator, and with Senator Group, an online casino market leader in Croatia.
• Finnish Market Liberalization Preparations: Signed a comprehensive PAM platform and turnkey solution agreement with SuomiVeto, a market entrant led by the successful founders of BetCity.nl, focused on positioning SuomiVeto as a leading operator, and Bragg as a leading supplier, in the newly regulated Finnish iGaming market when it launches. The market is scheduled to “go live” for private operators on July 1, 2027.
• Ambitious Artificial Intelligence (AI) Transformation Plan: Leapt into an “AI-First” future by initiating the development of the Bragg AI Brain, a data-driven artificial intelligence engine designed to power smarter decisions and intelligent products across the Bragg’s Ecosystem. The transformation plan is underpinned by clear 2027 targets, including ensuring an AI-Enhanced Product becomes standard in over 90% of all launches and having more than three-quarters of Bragg’s operational workflows impacted by AI.
• Strategic Restructuring to Reduce Cost Structure and Improve Operating Performance: Announced a strategic restructuring, including an approximately 12% reduction of global workforce, designed to realign the organization and thereby improve its overall cost structure, drive its EBITDA growth, and shorten the time required for it to achieve sustained net profitability. The Company expects to incur restructuring costs related to this action of approximately €1.0 million associated with personnel-related termination costs in the first quarter of 2026, and it anticipates annualized cash savings from its staff reductions and other restructuring efforts to be approximately €4.5 million. This amount does not include the expected positive impact of the Company’s initiative to the Bragg AI Brain to drive cost efficiencies and improve operational excellence.
• Greater Board of Directors Alignment with Shareholders: From January 1, 2026, fees are being paid to directors exclusively in deferred share units (DSUs) on a monthly basis (with no cash alternative).
Matevž Mazij, Chief Executive Officer at Bragg, said: “We continued to execute well, delivering record revenues, strategic expansion and important AI and restructuring initiatives. We believe this positions Bragg well for 2026 and beyond to: increase our overall content market share in Brazil and the United States; pursue emerging alternative markets, such as Historical and Live Racing and Prediction Markets; move into new jurisdictions that offer opportunities for higher margin content business; deliver enhanced operational leverage; meet our goals to streamline internal processes; enhance overall efficiency across our organization; protect our cash runway; and advance us further along the path toward EBITDA growth and net profitability.”
Board Changes
The Company also announced the appointment of Thomas Winter to its Board of Directors. Mr. Winter succeeds Kent Young, who has retired from the Board. Both changes to the Bragg Board are effective immediately.
Mr. Winter brings deep knowledge of and experience in the iGaming and wagering industry. Currently a Board Member of Rush Street Interactive, which through its brands, BetRivers, PlaySugarHouse and RushBet, was an early entrant in several regulated jurisdictions, Mr. Winter began his career in the gaming sector nearly two decades ago and has since established himself as a leader in the field. In 2013, he founded Golden Nugget Online Gaming (GNOG), where he served as President. Under his leadership, GNOG became a top online gaming operator in New Jersey, achieving significant market share and recognition, went public and was later successfully sold for over $1.5 billion to DraftKings, where he developed their multi-brand online casino strategy and led their online casino business until September 2023. Before founding GNOG, he was the CEO and director of Betclic, a major European online sports betting and gaming operator, and Expekt, a pioneer brand in the online gaming industry, within the Betclic Group. Mr. Winter played a key role as COO at both businesses before being appointed CEO.
“I would like to thank Kent for his many contributions to the Company. I am also very pleased to welcome Thomas to our team. Moving forward, the Board and management team will be steadfast in our aim to close the clear and persistent gap between the Company’s public market valuation and our assessment of its intrinsic value. To that end, as Thomas is a gaming industry luminary who has earned my deep personal admiration and great professional respect, I am confident that he will be a tremendous asset to our Board and to our shareholders,” said Holly Gagnon, Chair of the Bragg Board.
2026 Outlook
The Company anticipates full year 2026 revenue between €97.0 million and €104.5 million and Adjusted EBITDA of €16.0 million to €19.0 million (representing an Adjusted EBITDA Margin of 16.0% to 18.0%).
The post Bragg Gaming Group Reports Record Fourth Quarter and Full Year 2025 Revenues appeared first on Americas iGaming & Sports Betting News.
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