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Captain america actor trevor hogg9/12/2023 According to Earl, “That didn’t make a ton of sense so we came up with this idea of, “What if it was this fire suppression system.” It was more like a gas that would fire and flush him out. Originally liquid was supposed to be flowing through suit. Working from the previs, the team created some initial artwork. What would it be like if Ant-Man got inside this suit of armour?” “Having come off of Ant-Man we had done a gag where Ant-Man goes into Falcon’s backpack. “It’s a fun beat in the film where Ant-Man flies off of the arrow and ends up inside Iron Man’s suit,” notes Earl. One particularly amusing sequence involved Ant-Man getting transported with an assist from Hawkeye. If you’re watching carefully you’ll see that’s when his shoulder gets dinged - when he is hit by Hawkeye’s arrow it leaves a little dent so throughout the course of our sequence, we were slowly tracking damage.” “The other thing was mapping the trail of destruction behind them, like the scene where Wanda pulls all of these cars out of the garage and tries to smash them down on Iron Man. “We had almost every shot going at once so it was easy to miss those things, like when the order of shots got changed,” Earl remarks. “We could have anything from Ant-Man being a half inch tall on a piece of airport equipment all the way up to a big aerial shot where you’re seeing 50-foot tall Giant Man fighting.”Ĭontinuity was a serious issue. “It was almost like an animated feature,” he says. You can add all of that later.’”Įarl figured 600 to 700 assets needed to be created digitally. It quickly became, ‘Let’s not do the vehicles. Now we’ve turned and that one would be over there. When he was there that vehicle was here and that one was there. The DP backlit everything so if you were going to flip to the other side of the scene you would have to move all of the vehicles. “We had some vehicles typical of an airport tarmac, like luggage tugs, in Atlanta. “We created everything from scratch,” states Earl. Then we started finishing shots off and slowly filled in-between them,” he notes.Īccording to Earl, digital asset development was a massive undertaking. “We brought everything up to a certain level so that editorial had something represented to cut in and we could know if we were on the right path. As editorial got more involved they kept changing the cut.” The shifting narrative required Earl’s team to remain flexible, without finalizing any work too early in the production. We started with that previs as an overall map, knowing throughout the course of this fight our characters have to go from Point A to Point B. “The full airport was scanned and photographed for reconstruction purposes,” Earl continues. Then Bruce and Elbert Yen, our paint supervisor, worked on getting all of the assets going.”Īll told, the ILM group produced around 625 shots for the battle. Next they took the airport and mapped it all out. We took a similar approach where Tim and the layout group worked closely, first looking at the previs. As he explains, “Layout supervisor Tim Dobbert, animation supervisor Steve Rawlins, model supervisor Bruce Holcomb, compositing supervisor François Lambert, CG supervisor Pat Conran, lighting supervisor Jeremy Bloch and I worked together previously on Winter Soldier. In Captain America: Civil War, a climactic 20-minute showdown pits superhero against superhero, causing massive destruction of a German airport – leading the team responsible for construction of a full CG battleground, hundreds of digital assets and extensive use of digital doubles was ILM visual effects supervisor Russell Earl.Įarl’s team, and approach, mirrored the work he supervised on Captain America: The Winter Soldier. With the recent release of Marvel’s Captain America: Civil War on Blu-ray and DVD, we look back at some of the tremendous visual effects work done on the show by ILM in the second of our two-part feature - Part 1 can be found here.
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