Investor Relations

LOS ANGELES, January 26, 2023 — RLJE Films, a business unit of AMC Networks, and Shudder, AMC Networks’ streaming service for horror, thriller and the supernatural, have partnered to acquire the horror film CHILDREN OF THE CORN from writer/director Kurt Wimmer (Ultraviolet). “Children of the Corn”  stars Elena Kampouris (Before I Fall), Kate Moyer (“Station Eleven”), Callan Mulvey (The Gray Man) and Bruce Spence (The Road Warrior). The film will be released in theaters March 3, 2023 and on Demand and Digital March 21, 2023.

“We’re thrilled to work with Kurt Wimmer and bring his vision of this classic Stephen King story to new audiences,” said Mark Ward, Chief Acquisitions Officer of RLJE Films.

In CHILDREN OF THE CORN, possessed by a spirit in a dying cornfield, a twelve-year-old girl in Nebraska recruits the other children in her small town to go on a bloody rampage and kill all the adults and anyone else who opposes her. A bright high schooler who won’t go along with the plan is the town’s only hope of survival.

CHILDREN OF THE CORN, executive produced by award-winning digital production house Digital Domain. Produced by Lucas Foster (Morbius), Doug Barry (FML), and John Baldecchi (Point Break). The film’s digital visual effects were all produced in-house by Digital Domain.

Ward and Besty Rodgers from RLJE Films negotiated the deal with Lucas Foster and Daniel Seah, CEO of Digital Domain, on behalf of the filmmakers.

ABOUT RLJE FILMS

RLJE Films’ recent and upcoming features include Kids Vs. Aliens from co-writer/director Jason Eisener; Christmas With The Campbells from producers Vince Vaughn and Peter Billingsley; and writer/director Tim Sutton’s Taurus, starring Colson Baker and Maddie Hassan and featuring music by Machine Gun Kelly.

ABOUT SHUDDER

AMC Networks’ Shudder is a premium streaming video service, super-serving members with the best selection in genre entertainment, covering horror, thrillers and the supernatural. Shudder’s expanding library of film, TV series, and originals is available on most streaming devices in the US, Canada, the UK, Ireland, Germany, Australia and New Zealand. To experience Shudder commitment-free for 7 days, visit www.shudder.com.

ABOUT AMC NETWORKS

AMC Networks is a global entertainment company known for its popular and critically-acclaimed content. Its portfolio of brands includes AMC, BBC AMERICA (operated through a joint venture with BBC Studios), IFC, SundanceTV, WE tv, IFC Films, and a number of fast-growing streaming services, including the AMC+ premium streaming bundle, Acorn TV, Shudder, Sundance Now and ALLBLK. AMC Studios, the Company’s in-house studio, production and distribution operation, is behind award-winning owned series and franchises, including The Walking Dead, the highest-rated series in cable history. The Company also operates AMC Networks International, its international programming business, and 25/7 Media, its production services business.

About Digital Domain

Digital Domain Holdings Limited (“Digital Domain”) is the pioneer of creating transportive experiences. Throughout the last 30 years, Digital Domain has grown to lead the visual effects industry, expanding globally the arm of virtual humans and visualization. Digital Domain’s rich legacy consists of hundreds of feature films and episodes, thousands of advertisings, game cinematics and experimental immersive experiences. A creative force in cutting-edge technologies, Digital Domain has brought exceptional artistry to Academy Award-winning blockbusters of Titanic, What Dreams May Come and The Curious Case of Benjamin Button, Marvel Cinematic Universe titles crushed all time worldwide box office, such as Avengers franchise, and Stranger Things made a splash with Season IV.

As the first independent visual effects studio to successfully enter Greater China, Digital Domain has further paved the way towards virtual race since 2016. Leaning into technologies of artificial intelligence and virtual reality allows Digital Domain to create photorealistic and emotionally expressive virtual humans, all in real time, as well as provides an advanced medium for human-computer and human-human interactions in diverse virtual scenarios. Digital Domain Holdings Limited is listed on the Hong Kong Stock Exchange (Stock code: 547). Digital Domain has ten locations including Los Angeles, Vancouver, Montreal, Beijing, Shanghai and Hyderabad.

Digital Domain Official Website – WWW.DIGITALDOMAIN.COM

November 8, 2022, Hong Kong, — Digital Domain Holdings Limited (HKG: 547), the Hong Kong listed global market leader in visual effects (“VFX”) and metaverse services and 100% owner of the 30 years old Oscar-winning Digital Domain VFX production business in Los Angeles, announces changes to its Board of Directors.

Mr. Sergey Skaterschikov, the founder and managing director of IndexAtlas AG, resigns from his capacity as the non-executive board member of Digital Domain Holdings Limited. Mr. Skaterschikov was instrumental in arranging re-capitalization of Digital Domain in January 2021 and supported the company through a successful transformation of its North American operations into high growth sustainable business that is on schedule to report its all-time highest revenue in 2022.

Ms. Alla Alenikova, an American national and Swiss-based seasoned banker with vast international experience across Americas and Europe, who also served as the board member of Digital Domain Capital Partners, a Luxembourg-based investment arm of Digital Domain, will join the board of Digital Domain Holdings Limited (HKG: 547) effective on November 9, 2022.

“I would like to thank Mr. Skaterschikov for his service as the board member of Digital Domain Holdings Limited and profound positive impact he made on our company in this capacity over the recent years, and I welcome Ms Alenikova to our board”, commented Mr. Daniel Seah, the Chairman and CEO of Digital Domain Holdings Limited.

LOS ANGELES – September 22, 2022 – Today, legendary visual effects studio Digital Domain,
announces that Lala Gavgavian has been named Global President of Visual Effects Studios,
expanding her current role as chief operating officer. Gavgavian will oversee the company’s
global VFX services, which has seen its revenues double, while netting over 30 major award
nominations/wins in the last five years alone. She succeeds John Fragomeni.

“With streaming, films, advertising, games, and the metaverse, the demand for 3D content has
never been higher,” said Daniel Seah, chairman & CEO of Digital Domain. “For years, Lala has
been meeting this opportunity head on, building out the type of capacity – and talent pool – we
need to stay competitive and essential in our clients’ eyes. With her at the helm, I have no doubt
we’ll maintain these partnerships for years to come.”

An industry vet with over 25 years of experience in VFX for film, episodics and animation,
Gavgavian is no stranger to Digital Domain. Starting as director of human resources, talent
acquisition and development in 2007, she helped build and retain a roster of artists and
supervisors befitting one of the top studios in the world, before stepping into roles as
EVP/general manager, and then later, COO. This time not only saw her overseeing all North
American studio operations, but opening strategic sites in Vancouver, Montreal and Hyderabad.
Gavgavian will be responsible for continued growth and expanding the company’s offerings,
including the ongoing development of proprietary digital human capabilities that can only be
found at Digital Domain.

“Digital Domain is brimming with talent and possibilities, which is why our board has always set
such ambitious goals for its executives,” said Elizabeth Daley, Ph.D., dean of the USC School of
Cinematic Arts and board member at Digital Domain. “Lala has been a critical partner to the
board and I’ve always been impressed with her ability to hit lofty objectives and nurture talent
along the way. It’s this blend of persistence and patience that make her such a valuable leader.”
Gavgavian’s promotion follows several years of achievements, capped off by a historic 2021
that saw a VES Award win, a pair of Oscars nods (20th Century Studio’s Free Guy and Marvel
Studios and Sony Pictures’ Spider-Man: No Way Home), a recent Emmy nomination (Netflix’s
Stranger Things 4) and a handful of other awards.

Along with recognition in the fields Digital Domain has spent 30 years perfecting, it was also
recently recognized for raising the bar on video game character animation; debuting the most
advanced autonomous human in the world; and launching their Charlatan face-swapping
software, as part of the global fight against malaria.

“I’m honored Daniel and the Board have entrusted me with this opportunity to lead Digital
Domain, both as COO and president during this momentous time of expansion for the
company,” said Gavgavian. “In the last few years, our studio has experienced tremendous
growth and achieved beautiful, groundbreaking visuals. We are booked solid across film,
episodics, games and more and I am very proud to continue that journey and champion our
best-in-class talent across our global footprint.

August 31, 2022, Hong Kong – Los Angeles, — Digital Domain Holdings Limited ( “Digital
Domain” or the “Company”), the global market leader in visual effects, post-production and
metaverse technologies (listed in Hong Kong HKG: 547) reports strong growth across for its core
visual effects and post-production business in each of North America, India and Greater China,
benefitting from substantial investments in production capacity upgrades and continuous content
production boom worldwide.

Digital Domain is reporting HKD 482,726,000 in revenues for the six months period ending June
30, 2022, 16% increase to the same period of 2021, with North America being the largest
geographic segment with 90% of global revenues and 15% topline growth in the first half of 2022.
“Following new share issuances in 2021, our strategy was to invest in and focus on the core
business of visual effects and post-production, and our market leading virtual humans technology,
and now this strategy is paying off with six consecutive quarters of double-digit topline growth”,
commented Mr. Daniel Seah, CEO of Digital Domain.

Digital Domain enjoys strong and growing pipeline of production contracts from the world’s
leading content production companies from both Hollywood studios and streaming platforms, and
continues to grow its production capacity in all of its key locations in the USA, Canada, India and
Mainland of China. Canada is becoming the largest production hub in the industry given the
consistent and competitive tax rebates policy that incentivizes North American studios to re-
allocate their production budgets from the USA to Canada’s facilities. This trend well-fits Digital
Domain’s global production capacity footprint.

“We are on schedule to have the record year in terms of revenue for 2022 in our 29 years of history,
with the new scale and improved cost structure allowing Digital Domain to improve overall
operating performance of its core business this year, thus making strides towards sustainable
profitability”, commented Mr. Seah.

With strong performance of Digital Domain’s core business, the Company has managed to
stabilize its net loss at HKD126,453,000 for the six months period ending June 30, 2022, only
3% increase to the same period of 2021.

LOS ANGELES, Aug. 03, 2022 (GLOBE NEWSWIRE) — For Marvel Studios’ latest
episodic series, Ms. Marvel, the production faced an interesting, and somewhat rare
challenge. Unlike some of the characters in the Marvel Cinematic Universe (MCU) that are
firmly established through decades of exposure, the titular character in the Disney+
exclusive series is a relatively new creation. That gave the production a little more flexibility
when adapting her powers for a live–action audience, and allowed the showrunners to work
with Oscar and Emmy–winning VFX studio, Digital Domain, to reinvent Ms. Marvel’s
powers for a new audience.

“From the start, we knew that Ms. Marvel’s abilities were going to change for her live–action
debut, but everyone involved still wanted to honor the comics,” said Aladino Debert, VFX
supervisor for Digital Domain. “We went through several iterations with the production to
find a balance that will impress people watching on TV, and still look great when the
character makes the jump to the big screen.”

The All–New Ms. Marvel
Debuting in 2013, the character of Ms. Marvel, aka Kamala Khan, has quickly become a
fan–favorite, making her a natural choice to join the MCU. But rather than simply adapting
her powers from the comics – which include physical elongation, growth and body morphing
– the production reinterpreted her abilities to involve the generation and manipulation of a
cosmic “Noor” energy, or “hard light.” That gave the team at Digital Domain a starting point.
Building on the new origins, the team at Digital Domain went through several iterations of
Kamala Khan’s (played by Iman Vellani) powers to offer a look that would suggest an

“otherworldly” source, while still honoring the comic history. The result was a crystalline
manifestation that radiated energy, highlighted by an internal luminescence, created in
Houdini. The team then began experimenting with color schemes, settling on a blue–ish
purple base, which highlighted Kamala’s idolization of the character Captain Marvel, while
still being unique.

As Kamala fully embraces her potential, artists refined and smoothed the look of her powers
to suggest that they had become an extension of her. In a nod to her comic counterpart, she
discovers the ability to shape the hard light to enlarge (or “embiggen”) herself, using light
constructs to create the sense of stretching and expanding her limbs and hands. To depict
the larger–than–life Ms. Marvel, Digital Domain created a giant version of the character in
Maya, then finished the scene by encasing her in the glow of hard light using Houdini.

There and Back Again
Digital Domain also handled several environments in Ms. Marvel, including a pivotal
location. In the closing moments of episode four, “Seeing Red,” Kamala is accidentally
transported back in time. Finding herself somewhere new, she climbs onto a nearby
structure. The camera then pulls back to reveal that she is in a crowded rail station decades
in the past, surrounded by dozens of trains and thousands of desperate refugees on the eve
of the infamous Partition of India.

To create the multi–shot sequence, Digital Domain began with real footage of a modern–day
train station with a small group of extras. Using that as a template, artists then extended the
scene to create a massive sense of scale, including buildings for the station and
background, and dozens of additional train cars and steam locomotives, all art directed to
look at home in 1947. To create the crowds, Digital Domain used scans of a handful of
actors in period–appropriate clothing, which they ran through Houdini’s crowd tool to add
people to nearly every open space. Artists then added steam from the engines, before
rendering everything in Mantra.

Duplicates and Destruction
While Digital Domain contributed shots to all six episodes, the bulk of its work appears in
the final one, “No Normal.” After a chase through Jersey City, Ms. Marvel’s hometown, the
episode culminates in a superpowered finale that required several VFX tricks, including
shape–changing characters, digidoubles, violent explosions and more.
With heavily armed agents from the Department of Damage Control closing in on Ms.
Marvel and her friends, the group decides to make a last stand at the local high school and
set several traps. Along with an onslaught of softballs and smokescreens, the group
unleashes a devastating trap based on a famous chemistry experiment known as “elephant
toothpaste .” In a real high school lab, responsible teachers tend to ensure a moderate
reaction, but for the episode the heroes go bigger – much, much bigger. That led artists to
create an expanding gray, bubbling CG foam substance, then animate it as it expands
through the lab, through hallways and down staircases, knocking over the pursuing agents
as it goes.

The confrontation soon comes down to a three–sided fight, with government agents against
the similarly light–powered character Kamran (played by Rish Shah), and Ms. Marvel trying
to keep them both in check to protect the crowd of onlookers. With Kamran beginning to
lose control, Digital Domain was tasked with showing the damaging effects of his powers.
Artists began by depicting a pulsating shockwave of energy, causing a combination of
digital debris and CG damage to nearby objects. With each new pulse, his hard light powers
send craggy tentacles in every direction, featuring an amber/gold coloration to differentiate
them from Kamala’s powers. With Kamran at the epicenter of a growing disaster, Ms.
Marvel takes the brunt of the onslaught while defending the crowd. For both visual cohesion
and safety, both performers were digitally augmented with partial digidoubles.

Working from full–body scans of Vellani, artists at Digital Domain created a full–body
duplicate. The photorealistic doubles allowed the showrunners to place the characters in
dangerous situations, while eliminating any distractions from the live–action footage –
including wrinkled fabric, exposed seams and any other imperfections that might have taken
away from the actual performances.

The team at Digital Domain also used digidoubles for Ms. Marvel earlier in the series,
including a memorable training montage on a roof where she jumped from one floating
platform to another. Artists used the technique again in the finale to depict her running
above the streets of Jersey City on hard–light platforms (while obeying all traffic laws). The
sequence also features a combination of clean plates and digitally–generated backgrounds
to bring Kamala’s home to life.

A digidouble was also used during the closing moments of the season, in what would
become one of the defining images of the show. Shortly after the final confrontation, Ms.
Marvel sits on a lamppost and looks out over the city as her hair blows in the wind. To
create the iconic shot, Vellani was filmed sitting on a physical light post prop surrounded
entirely by greenscreens, while a wind machine blew. The water, dock and cars are all
purely digital, along with the buildings on the Jersey City shoreline, which were created
using LiDAR scans of physical locations in Atlanta. A plate of New York City was then
added before the full sequence was rendered in V–Ray.

Ms. Marvel is available now, exclusively on Disney+.