Fuse Group, a visual effects firm that has acquired several smaller shops with private equity backing in recent years, has changed its name to Pitch Black as it looks to grow as a top post-production vendor for studios and streamers who need to produce. . Content at high volume.
Pitch Black CEO Sebastien Bergeron says the new moniker is meant to invoke the wide range of possibilities presented by a dark screen. “It’s mysterious to us — it’s like a blank canvas in our own universe,” he said diversity.
Despite the rebranding for the parent company, Pitch Black’s banners will retain their own name and label identity in the market The business behind the Pitch Black roll-up is to offer major studio and streamer clients a menu of vfx labels, each with distinct specialties, but in a one-stop shopping environment under one corporate umbrella with offices around the world. In fact, one of its biggest growth areas is from Spanish-language content produced in Latin American countries.
“We want to keep all of our brand flavors and filters but give (producer clients) the opportunity to tap into a global network,” Bergeron said. “We can give them complexity but at scale and with a much more human touch.”
Previous Fuse Group has been building vfx firms with various specialties since 2018, backed by New York-based Eagle Tree Capital. Under founders and chairman David Altenau and Bergeron, the company has acquired VFX firms FuseFX, Folks, Rising Sun Pictures and most recently El Ranchito. Pitch Black now employs approximately 1,400 vfx professionals in 13 locations around the world. The company will approach $200 million in annual revenue after strong growth in 2022, Bergeron said. It aims to compete with Hollywood’s marquee VFX names such as WetaFX and Industrial Light & Magic.
About 90% of Pitch Black’s business comes from mainstream Hollywood productions. But the company has stitched operations together with the goal of offering global options for key studio clients while doing business with local producers in the United States, Canada, India, Australia, Spain and Colombia.
“Mostly we’re working for Hollywood but there’s a big market especially in Latin America,” Bergeron said. “There’s a lot of Spanish-language content being created and it requires visual effects more than ever.”