Happy iron man full#

вЂњThe biggest challenge is in pulling that background and foreground together and locking in the right lighting,вЂќ he continues. We also pulled off some neat tricks, like creating cameras or stitching backgrounds together where shots had camera rotations and planar backgrounds wouldnвЂ™t work. We split plates out and rebuilt some of the backgrounds to give us enough material. вЂњWe had plate footage from a 360-degree camera array shot on location, but due to alignment and continuity, we had to be resourceful in comp. Here, the satellite fires a single drone encased in a protective shell an asset also designed by Image Engine, along with the white-hot cloud of flame that emanates from its thrusters. вЂњWe then added a whole load of detail, essentially overbuilding the asset to ensure we had the flexibility to get closer if (and when) the camera needed to.вЂќ A trip through the alpsДЄudiences first witness this satellite when PeterвЂ™s field trip takes a diversion through The Alps. We worked with the production VFX supervisor to dial in the right look, balancing sci-fi fantasy with real-world physicality. вЂњStark technology is always very sci-fi, but the MCU grounds it in reality. вЂњThere was a fine line to straddle,вЂќ says Edmond Engelbrecht, CG Supervisor. Image Engine also built the satellite from which the drones launch. вЂњThereвЂ™s a sense of AI behind the movement of this drone cloud. вЂњWe wanted to create the feeling that this mass of technology possessed a hive-mind intelligence,вЂќ says Alex Lombardi, FX Supervisor. It vastly optimized the process of iterating on shots.вЂќ We also developed a system that auto-generated the resulting spark interactions. вЂњWe lookdevвЂ™d elements like smoke and dripping, molten metal.

Happy iron man full#

вЂњThe entire cutting scene was full CG,вЂќ says FX Lead Julien Depredurand. They barricade themselves behind a large metal door, which the pursuing drone commences cutting. It complements that sense of predatory, robotic intelligence without them becoming too powerful.вЂќДЄ standout drone performance occurs when PeterвЂ™s classmates seek refuge in the Tower of LondonвЂ™s Crown Jewels vault. вЂњWe solved this by having them able to execute only one command at a time. вЂњWe needed to balance this so that the drones were smart, but not so smart that they could catch the people theyвЂ™re after!вЂќ continues Mesana. They needed to exhibit complex programming that enables them to make decisions. вЂњThe production wanted this intelligence to shine through in drone performance. вЂњThe drones are Stark Industries tech, so theyвЂ™re sophisticated,вЂќ says Jeremy Mesana, Animation Supervisor. It was in the movement of these swarming, killer robots that Image Engine exhibited its performance know-how. (Although the team did have some influence on the different stages of the droneвЂ™s destruction, in addition to the design of the вЂњsonicвЂќ weapon effect that appears in the filmвЂ™s third act вЂ“ itself a callback to the sonic technology used in 2008вЂ™s The Incredible Hulk.) Droning on Modelled by Sony Pictures Imageworks, Image Engine took over the assets for animation, integration, and rendering. The perpetrators of this destruction are BeckвЂ™s reconfigured Stark drones.

вЂњThe main body of that work took place during the pursuit of Happy and PeterвЂ™s classmates through a London under siege.вЂќ вЂњThese drones comprised a large amount of our work on Spider-Man: Homecoming,вЂќ says Joern Grosshans, VFX Supervisor.

Using a combination of StarkвЂ™s Binarily Augmented Retro-Framing (B.A.R.F.) system and a fleet of drones, Beck summons illusory elemental creatures that only he is capable of stopping, or so he would have our heroes believe. A disgruntled ex-Stark scientist, Beck is eager to secure the Iron Man mantle for himself. Yet, as would any 16-year-old, heвЂ™d prefer to do away with responsibility and spend time with his high school crush on a European field trip. The world needs an Iron Man successor, and all eyes are on the young hero.

Peter Parker has big boots to fill in Spider-Man: Far From Home. Previously responsible for a Norwegian coastline in Thor: Ragnarok and the Wakandan post-credits tease in Captain America: Civil War, the studio took on a new challenge for Spider-Man: Far From Home: building an arsenal of Stark tech both friendly and hostile across some 215 shots. Image Engine swung into the MCU for a third time to help tell the story. ItвЂ™s the perfect end to one adventure and a tantalizing jumping-off point into the next. MarvelвЂ™s Spider-Man sequel contrasts the operatic grandeur of Endgame with Peter ParkerвЂ™s more intimate coming of age story.

Spider-Man: Far From Home needed to cap off the final chapter in the Infinity Stones saga while detailing the emotional impact of the post-Iron Man fallout.ДЄnd it did so magnificently. Avengers: Endgame was a tough act to follow.