4/30/2024 0 Comments Tom holland bit by spider sceneAnd then of course, there’s those big, big explosions that Sudick is great with, like when Goblin throws the bombs. One of my favorite shots is when Spidey swings down, upside down and then he turns around towards camera to see Ock, and I just love all the reflections in there and of that whole environment. Also, even though it was a live action car with her in it, we had to replace a lot of that exterior surface on the car to get all the proper reflections. We then put the environment in around her. She was quite high up and it just basically tilted straight down. I felt bad for her! But that was authentic fear in her. And so when you see her expression, well, she was not a fan of that rig. One was for when the assistant vice chancellor was inside the car, it would be able to tilt down 90 degrees, that is, go from flat to 90 degrees. Kelly Port: Dan Sudick and his special effects team built a few specialized rigs. There’s cars over the edge and with actors in them. It just looked great.ī&a: When you were shooting that, what sort of rigs and other things helped? There’s some crazy stuff that happens with that, apart from just Doc Ock throwing cars around. But beyond that little piece of road section, Digital Domain built an entire, fully-CG digital environment around that that would include all the other surrounding bridges, the other side of the bridge that they’re on, all the city of Brooklyn and all the area around it, the river, and all the trees, the fall foliage. And then that became our main action set piece. He goes through some traffic before he gets to her, so we would redress that same section for up until he gets to where she is. We’d redress the set for when Spidey first lands on a sign, and then he jumps off the sign and tumbles and he is looking for her. We had 40-foot bluescreens on three sides of that pad, a little bit of roadway with the exit where the assistant vice chancellor was exiting and where most of the action took place. It was a backlot pad that was made specifically for us. We shot in Atlanta at Trilith Studios, which was called Pinewood Atlanta. At one point in its longest iteration, it was 15 minutes long. There’s so many cool iterations of that sequence that will never see the light of day. Also, the Digital Domain previs team did the previs for the whole movie, which was really cool, led by Matt McClurg. Kelly Port: Digital Domain was tasked with doing that sequence, which was a few hundred VFX shots. Tell me first about the planning for that sequence. I just thought that was a brilliant example, I assume, of shooting so much on some kind of backlot or set in Georgia and then implementing a New York environment. If it was using a slightly different body, it wouldn’t track.ī&a: One of the scenes I wanted to ask you about is the bridge attack with Doc Ock. So, if we’re tracking somebody who’s a stunt performer, we would need to swap out the Spidey for that guy’s scan, just to track it better. We also scanned stunt doubles, because oftentimes you need to body track them and they have a slightly different body. That’s another thing we could take advantage of we would scan him and get high-resolution textures, polarized, non-polarized, you name it, in every single iteration of that costume, too. Does that mean you’d scan him in normal clothing, and then on-set suit as well? X, SSVFX, MARZ, Secret Lab, Perception and more, talks about how the VFX teams made those returns and elaborate sequences possible.ī&a: Obviously, someone like Tom Holland, he’s there without his mask and with mask sometimes. In this interview with befores & afters, Port, who was supported by visual effects producer Julia Neighly and a bevy of VFX studios, including Digital Domain, Imageworks, Framestore, Luma Pictures, Crafty Apes, Cinesite, Folks VFX, Mr. With Spider-Man: No Way Home, not only was production visual effects supervisor Kelly Port tasked with overseeing a dazzling array of complex VFX sequences-moments like the Mirrorverse, a freeway battle between Spider-Man and Doc Ock, a fight atop the Statue of Liberty involving several super-heroes, and many more-Port also had to navigate the fact that of course a number of beloved characters previously crafted with the aid of visual effects would be returning to the screen in some form or another. ‘No Way Home’s’ VFX supervisor on crafting the Mirrorverse, orchestrating 3 different Spideys, and whether they could access any old 3D models from the past films (hint: no).
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