
How Digital Domain helped craft Wakanda Forever’s ship attack.
And how one hilarious moment in ‘Black Adam’ done by the VFX studio didn’t make it to the theatrical cut.
How new developments in the studio’s Masquerade and Charlatan tools were part of its digital human work for She-Hulk: Attorney at Law.
‘You know, Mark, I don’t want to do these ‘fancy panning around and seeing the whole world shots’. I’d much rather set a camera looking down a street, having a cab rush towards me, and cut as it passes by, and then cut to a reverse of it passing by, and construct my film that way.’
‘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).