For the eight-episode series Néro, the teams at MPC Paris handled the entire image post-production pipeline. Under the Overall VFX supervision of Arnaud Fouquet and VFX production by Fanny Bilani, we delivered 238 VFX shots while supporting the production from the very first stages of rushes archiving through to the year-long editing process with four editors and two assistants. The work continued with eight weeks of color grading led by Magali Leonard, right up to the final deliveries.

Néro The Assassin is now available on Netflix.

Long-term VFX Supervision

Building on previous collaborations with Netflix (Under Paris, Wingwomen), MPC VFX Supervisor Arnaud Fouquet oversaw the show’s overall visual effects. After five months of shooting and several months of location scouting in France and Spain, Arnaud helped define and coordinate a consistent creative vision, ensuring VFX were integrated from prep through to post. 

MPC Paris played a central role in designing and producing the VFX for the city of Ségur. In total, more than 80 artists contributed to 238 VFX shots, including the creation of eight major assets. The VFX production was overseen by Fanny Bilani at MPC. 

Partner studios also contributed to the project: Digital District handled, among other things, the city of Lamartine, while Cousin Bizarre worked on the fight sequences and CG weapon and blood additions. 
Altogether, Néro The Assassin features 832 VFX shots created by the three French studios. 

Full Picture Post-Production at MPC Paris 

The entirety of picture post-production took place at MPC Paris under the supervision of Anaïs Meuzeret, Head of Post-Production, from editing to final color grading The process was managed by Franck Mettre, Director of Post-Production, based at MPC’s Rue d’Hauteville studio. This close setup enabled smooth, daily communication with the VFX teams and quick turnaround throughout the process. 

Arnaud Fouquet said: 

“It’s always a pleasure working with Franck. We’ve been collaborating for years, and being under the same roof at MPC makes everything more efficient and fluid.” 

Color grading for all eight episodes was led by Magali Léonard over an eight-week period, following extensive pre-production preparation. Early in the process, Florine Bel, Color Scientist, defined the show’s visual language in collaboration with cinematographers Romain Lacourbas (episodes 1-4) and Vincent Gallo (episodes 5-8), as well as Magali. Through lighting, costume, and lens testing, the team established a strong visual identity, with deep contrasts and rich, restrained colors, while respecting the production design and costumes. 

Four main looks were created (sunny day, cloudy day, night, and day-for-night) and developed into LUTs integrated directly on set by DITs Brice Barbier and Dimitri Sorel, ensuring visual continuity from shoot to final grade. 

The workflow, based on ACES 1.3 and Filmlight tools (Daylight / Baselight), preserved full HDR and SDR image dynamics and ensured consistent color management, even in complex VFX shots. VFX artists could temporarily neutralize the look for their work, then re-apply it to check the final integration. 

Florine Bel explained: 

“This project had a very distinctive aesthetic. The quality of the pre-production tests and the constant communication between MPC, the DITs, and the image teams made it possible to build a demanding look and keep it consistent across all eight episodes.” 

An Ambitious Production 

Shot in France and Spain after months of scouting, NÉRO is an epic medieval saga driven by the vision of producer Antoine Rein, writer-director Allan Mauduit (episodes 1-4), and director Ludovic Colbeau-Justin (episodes 5-8). 

From the start, both the production and Netflix knew VFX would play a key narrative role, serving the show’s aesthetic ambition and epic tone. With its spectacular sets, road-movie rhythm, and intense action sequences, NÉRO THE ASSASSIN showcases the central role of picture post-production in creating today’s major series. 

Arnaud Fouquet concludes: 

“A series like this requires a very special kind of commitment, it’s the equivalent of three feature films, with a shoot three times longer and post-production just as demanding. It takes real precision and focus. I think we’ve all done an outstanding job, and we’re very proud of the images we created. I can’t wait for audiences to discover Néro The Assassin.”