MPC VFX Supervisor Malte Sarnes in company with Producers Alexandra Daunt Watney and Luke Groves led our teams in Adelaide, Bangalore, and Toronto on over 100 shots for the box-office hit, Spider-Man: No Way Home.
As the principal vendor on this film, Makuta was involved in the set design decisions, drastically reducing the overall VFX budget through our on-set shoot supervision, LiDAR scanning of the entire 800m long set and providing “invisible” visual effects to recreate the 3D -Dharavi slums of Mumbai on the Chennai set location. Through compositing, which we supervised and executed to fully 3D extension and our custom “DURT” system to degrade the visibly too-clean set build, we produced hundreds of visual effects shots from rig removal, fire augmentation through fire and debris simulations, 3D building and bridge extension and replacements, hoarding and cleanup, all within a matter on months. A very challenging project with the sheer amount of detail needed to recreate the environment but we pulled it off!
In the age-old game of chess each player has Sixteen pieces.Throughout the course of 16 years, we have moved each piece and got better with each move, as we created wonders and set benchmarks in the game of VFX!
The opening action sequence of “No Time To Die” finds James Bond racing through the streets of Matera, Italy. Special effects supervisor Chris Corbould, who has worked on 007 classics like “GoldenEye” and “Skyfall,” explains how the crew loaded the Aston Martin DB5 with gadgets, made a pristine vehicle look damaged, and how pouring soda helped cars and motorcycles speed through ancient cobblestone streets.
Spectral Motion has been making animatronic puppets for movies and TV shows since 2002. Even if they don’t fully end up in the final shot, they can make for great references for both visual effects artists and the actors in front of the camera. Spectral Motion’s head of animatronics, Mark Setrakian, takes the characters sculpted and painted by the company’s artists and gives them the most realistic movements possible. This has included making giant troll hands compress and handle objects for “Hansel & Gretel: Witch Hunters,” manipulating robotic bits and foam skin to make a wolflike snarl for “Lady in the Water,” and making the Demogorgon’s face petals move on the first season of Netflix’s “Stranger Things.” Advancements in technology allowed Spectral Motion to push the kinds of terrifying movements it gave to the animatronic White Spike puppet who would be acting alongside Chris Pratt and Yvonne Strahovski in “The Tomorrow War.”
“Something I wanted to always do. Invent instruments that don’t exist. Invent sounds that don’t exist.” Hans Zimmer, ‘Dune’ composer, gives his in-depth analysis and insider’s look at how the score was created for Denis Villeneuve’s 2021 film. Dune earned Hans Zimmer an Oscar for Best Original Score at the 2022 Academy Awards.
Adapting Dune for the screen was a big challenge that pushed Director Denis Villeneuve and Editor Joe Walker, ACE to use a slightly unconventional approach to editing in the film. In this video I breakdown how Walker works within the “montage mode” of editing to tell the film’s story efficiently and powerfully.
For the highly-anticipated Sony Pictures and Marvel Studios’ film Spider-Man: No Way Home, Digital Domain VFX Supervisor Scott Edelstein and his team of artists were tasked with digitally creating the Alexander Hamilton Bridge and parts of New York City, along with Spider-Man, Doc Ock and his tentacles, Sandman, Green Goblin and more. The team also created visual effects for the epic Doc Ock and Spider-Man bridge fight along with the battle at Happy’s condo.
In total, Digital Domain contributed over 520 shots, along with over 600 unique assets, including vehicles, full environments, props and more. Our team of artists also created 14 hero character builds and 19 digi-doubles for the film.
The Adam Project’s Zoe Saldaña (Laura) is joined by director Shawn Levy and VFX Supervisor Alessandro Ongaro to break down the best action scenes in the film. Learn behind-the-scenes secrets of the backyard fight with Ryan Reynolds (Big Adam) and the car chase through the forest, along with designing the futuristic look of the Time Jet.
The opening action sequence of “No Time To Die” finds James Bond racing through the streets of Matera, Italy. Special effects supervisor Chris Corbould, who has worked on 007 classics like “GoldenEye” and “Skyfall,” explains how the crew loaded the Aston Martin DB5 with gadgets, made a pristine vehicle look damaged, and how pouring soda helped cars and motorcycles speed through ancient cobblestone streets.
“Tom Holland does a ton of his own stunts.” Kelly Port, the Visual Effects Supervisor for ‘Spider-Man: No Way Home,’ gives his in-depth analysis and insider’s look at the CGI and VFX in the scenes leading up to Doctor Octopus’s introduction during the “bridge fight.”