When FIN Design + Effects embarked on Sonic the Hedgehog 3, they knew they were stepping into something special. With a history in the Sonic universe—having recently completed work on the episodic series Knuckles—the studio was more than ready to take on the challenge. Over the course of 12 months, a team of 110 artists delivered 310 shots, each one a testament to the studio’s technical prowess and creative ingenuity.

Their involvement in Sonic 3 was no coincidence. It was, in part, thanks to VFX Supervisor Ged Wright, who had been a strong advocate for FIN from the very beginning. The studio had proven its ability to deliver high-quality work on Knuckles, and that foundation became the springboard for their expansion into the feature film. “Having Ged’s backing was invaluable in taking on this project,” reflects FIN VFX Supervisor Roy Malhi.

From the outset, the scale of the work was immense. Much of the film’s action takes place in fully CG environments, with very little shot in-camera. One of the most technically demanding sequences involved the Eclipse Cannon emerging from the Thames in London, an elaborate sequence of fluid simulations and intricate rendering. Water, as always, presented a unique challenge—one that required both technical expertise and artistic finesse to get just right.

To manage the sheer volume of work, FIN leveraged its high-performance rendering capabilities, utilizing GPU rendering and the RenderMan denoiser to optimize efficiency. “Our ability to scale quickly and collaborate effectively was key,” says FIN VFX Producer Daniela Giangrande. By the project’s peak, 70% of FIN’s facility was involved in some capacity, underscoring just how deeply the film became embedded in their pipeline.

But beyond the technical complexity, Sonic 3 also brought creative challenges, none more significant than designing the Chaos Storm—a pivotal element in the film’s story. Initially, there was no clear vision for how it should look or behave. FIN was tasked with bringing its interior effects to life. It took months of experimentation, iteration after iteration, to strike the right balance of an effect that felt both controlled and wildly unstable at the same time.

FIN’’s creative contributions continued with being tasked with designing a range of new assets, including a nanotechnology-based scorpion and praying mantis claws featured in a high-energy fight sequence. Their enhancements to the crab design added new levels of depth and realism, pushing the boundaries of creature animation within the film.

Perhaps one of the most defining moments of FIN’s work came in the introduction of Shadow, a fan-favorite character whose entrance needed to be nothing short of spectacular. The studio was responsible for the opening sequence of the film, which sees Shadow escaping from Prison Island—a moment that demanded intricate fur simulations, secondary motion, wet fur effects, and dynamic wind interactions. Every punch, kick, and camera movement in his first fight scene was meticulously choreographed, with FIN working closely alongside director Jeff Fowler to ensure it had the right impact. “Having such great access to Jeff and collaborating with him so closely was a huge advantage,” Malhi notes.

Despite being set in the real world, the Sonic characters didn’t naturally blend into physical environments. FIN’s solution was to create fully digital environments for every scene featuring CG characters, ensuring a seamless integration that enhanced realism while maintaining the stylized aesthetic of the Sonic universe.

As the project progressed, FIN’s role expanded significantly. What started as a focused package of water effects and character shots quickly grew into something much larger. In fact, FIN was the only vendor to see its workload triple in scope, a testament to the trust placed in them by the production. Many of their early shots were used in the film’s trailer, further proving their ability to deliver high-quality work on tight deadlines.

In the end, Sonic the Hedgehog 3 was more than just another project for Fin—it was a massive collaborative effort that pushed boundaries across every department. “This was a huge undertaking that required the expertise of our entire team,” says FIN Head of Visual Effects Alastair Stephen. “From character animation to complex water and conceptual effects, every department played a crucial role in bringing this world to life. We’re incredibly proud of what we’ve achieved.”

And with that, FIN Design + Effects continues to leave its mark on the industry, proving once again why they are at the forefront of visual storytelling.