Just like a toy box, working on Barbie was a playful experience for the visual effects teams working on this joyful production. Celebrated for its strong aesthetic and set design, the collaboration that took place between departments delivered a flawless final film with invisible VFX touching 1300 shots. Leading VFX was production supervisor Glen Pratt who in collaboration with other heads of department had to decide early on which sets would be built as practical or digital miniatures. Working