MagicPictures Studio

MagicPictures Studio is an independent visual effects and computer graphics animation studio working across Japanese and American productions. Founded in Tokyo in December 2000, it combines production work with research and development in simulation technology and commercial software. Its work spans feature films, television commercials, game cinematics and original animation.

The studio specializes in photorealistic fluid and particle effects, including water, splashes, fire, smoke and explosions. Its broader production capabilities cover 3D modeling, character animation, rendering and digital compositing, alongside stereoscopic animation and digital intermediate support. These capabilities serve projects ranging from live-action visual effects sequences to fully computer-generated imagery.

Production across Japan and Hollywood

The company established its American operating arm in Los Angeles in 2009, extending a production business that began in Japan. Its Southern California facility relocated to Santa Monica in 2012, while Tokyo remained the founding studio and operational headquarters. The Japanese and American branches form a unified studio under shared creative supervision.

Feature-film credits include The Conjuring, Beautiful Creatures, Journey 2: The Mysterious Island and Jonah Hex. Japanese productions include Mushishi, the Gegege no Kitaro films and Tenchi Meisatsu. Commercial and special-project work includes CG animation for Subaru XV’s The Battle and the 8K HDR full-CG production Fireworks Tree 光の世界樹, made in collaboration with ROBOT.

Production-driven software development

In-house software development is a substantial part of the studio’s work. MagicPictures develops simulation tools from its production pipelines and makes proprietary technology available commercially through MagicPictures Software. This activity connects practical effects production with tool development, customization and technical consulting for other digital content creators.

The studio also produces original animation as a setting for its technical work. Its stereoscopic short Water World demonstrates the relationship between its animation practice and its internally developed fluid simulation technology.