Alongside the UK’s world-leading VFX talent, the Audio Visual Expenditure Credit (AVEC) VFX uplift – which came into effect from 1 April 2025 in respect of expenditure incurred on or after 1 January 2025 - is enticing international studios and streamers not only to film in the UK, but to base their VFX and post-production work here too.
An enhanced rate means that qualifying UK VFX costs for film and high-end TV productions are now eligible for relief at a net rate of 29.25% (increase from 25.5% on their other production costs) and, after the removal of the 80% cap, companies can now claim relief on 100% of their eligible UK VFX spend.
One example of a project already benefitting from this uplift is Boat Rocker Studios’ hit Netflix series Geek Girl. The first series shot in the UK, but did post-production primarily in Toronto. The second season’s VFX has, however, moved to London-based Milk VFX. Denise Pleune, US-based SVP of post-production at Boat Rocker Studios, says that’s down to “the tax relief and the vast pool of talent in the UK.”
‘[UK VFX houses] take a lot of care,” Pleune continues. “Milk VFX went out of its way to make us feel special. We wanted to get the quality and to get the tax credit, which means we can put more stuff on screen.”
The effects of the enhancement are certainly being felt by the UK’s VFX companies. “Previously, productions would cap out their budget and ask for the VFX work to be placed outside of the UK,’ explains Sue Lyster, executive in charge of ILM’s London Studio, which recently worked on Edgar Wright actioner The Running Man. “That is no longer an issue.”
“Companies like Disney often maxed out [on the available tax relief] because they were shooting here,” agrees Fiona Walkinshaw, Framestore’s CEO of film and episodic. Since the uplift, she says Framestore “have had a lot more shows confirmed as happening in the UK. We are at full capacity at the moment.”
Regional gains
The British Film Commission (BFC) also plays a crucial role, running ‘familiarisation trips’ in which a delegation of US studio and production company executives are given a tour of leading VFX and post-production companies across all four nations of the UK. The relationships forged during these trips lead to a better understanding of the talent available and the placement of future work.
Indeed, facilities across the UK have been growing and developing at pace. Manchester-based RealTime, which ventured into film and HETV seven years ago and whose credits include HETV shows Lockerbie: A Search For Truth, Bafta-winning Dr Who 60th anniversary special and Ridley Road, is seeing bookings rise.
“People are feeling optimistic,” notes RealTime marketing director Lauren Brady. “When you work for a smaller studio, there is so much more you can do from a VFX artist’s perspective. The variety of work is huge.”
North of the border, Screen Scotland also has its Project Post Fund, providing extra support of up to £100,000 per project. Since the launch of the fund, Scotland has attracted high profile series like The Penguin and Outlander: Blood Of My Blood, both worked on by Govan-based studio, FixFX.
“The post facilities in Scotland are very resilient. They’ve always had to be,” says Steve Litte, head of production at Screen Scotland. “They have a very unique skillset that enables them to do a number of different projects.”
The world-class skills of UK talent are a key draw for international productions, highlighted by the fact that British teams have won the Oscar for best visual effects 12 times in the last 15 years. That talent is spread throughout the UK’s nations and regions; for example, Rhys Salcombe, DNEG’s Academy Award-winning VFX Supervisor for Dune: Part Two, hails from Aberystwyth in Wales, and studied computer animation at the Swansea Institute of Higher Education.
Welsh companies are also benefiting from the enhanced tax credit. “We have definitely seen an uptick in high end TV scripted [drama],” says Rich Moss, founder and managing director of Cardiff-based Gorilla Group, whose recent bookings have included thriller The Man In The Basement, drama H Is For Hawk and Dr Who spin-off The War Between The Land And The Sea.
“What we are also seeing in Wales is the pick-up of a lot of unscripted series,” Moss continues. “We’ve got bookings next year, we’ve got the talent and the contacts.”
In Northern Ireland, production facility Studio Ulster, overseen by Ulster University and the Belfast Harbour Commission, officially opened in the summer and has already secured multiple bookings.
“We were lucky to have some productions in early doors,” Alyssa Boyle, Studio Ultster’s head of commercial operations, says of projects like Stellify Media’s BBC docudrama, Titanic Sinks Tonight, which, appropriately enough, was filmed in the very location where the ill-fated liner was built.
The studio’s 2026 order book includes series, indie projects and local productions. “We flex up and we flex down based on what is needed,” says Boyle.
Brisk Growth
Neil Hatton, chief executive of the UK Screen Alliance (the trade body representing VFX and post), conducted research in June 2025 which revealed that 71% of VFX companies surveyed said they had experienced an increase in inquiries, and 43% said that increase had been significant.
“There is notably more work booked in for next year,” Hatton confirms. “I am also seeing the beginnings of an uptick in recruitment.”
Indeed, a slew of major recent and upcoming projects have filmed and done their VFX and post work in the UK this year, including F1, 28 Years Later: The Bone Temple, How To Train Your Dragon, Jurassic World: Rebirth, Mission: Impossible – The Final Reckoning and Supergirl all filmed and did their post-work in the UK. Big titles coming in 2026 include Project Hail Mary and Three Bags Full.
Other projects that have done their VFX and post in the UK after filming elsewhere include such features as The Lost Bus, Die My Love and The Ballad Of The Small Player, and HETV shows like The Assassin, Lord Of The Flies and The Tattooist Of Auschwitz.
Also making the most of the UK’s VFX offering this year was Universal’s box-office smash hit sequel Wicked: For Good, which employed the services of Framestore – who also worked on the first film. Framestore’s Oscar-nominated visual effects supremo Jonathan Fawkner didn’t just help oversee the VFX for Jon M Chu’s two films – he also appears on screen, in heavy shadow, as the Wizard Of Oz. “I honestly thought it was going to be a placeholder, but it was in the film,” he laughs.
Fawkner was on set every day for both Wicked films, sitting alongside ILM VFX guru Pablo Helman. ILM created the flying monkeys while Framestore was responsible for the lovable animatronic goat, Dr. Dillamond.
“They (ILM) put their monkeys on our background – which is more complicated than it sounds,” explains Fawkner. “It’s by no means a competition. We’re all in it together, it’s an enormous collaboration.”
Strong Support
Encouraged by this growth, foreign investors are increasingly getting behind UK VFX and post companies. Earlier this summer, for example, Indian outfit Phantom Digital Effects took over Milk and Lola Post. “There is money flowing into the UK because it is seen as a vibrant, creative environment,” notes Hatton.
“It’s all about cash and getting the right price,” he continues, of what draws international clients to UK shores. “But you need to have all of the other things in place – the ability to delight people either with your levels of service or your creativity, or preferably both. We can do all that in spade loads.”
For more information, visit the BFC’s directories of the UK’s VFX and post-production and virtual production companies.
