Doctor Strange in the Multiverse of Madness VFX breakdown

Dr strange in the Multiverse of Madness VFX are made by:

Capital T (VFX Supervisor: Jamie Hallett)
Digital Domain (VFX Supervisor: Joel Behrens)
Framestore (VFX Supervisor: Alexis Wajsbrot)
Industrial Light & Magic
Sony Pictures Imageworks
Luma Pictures
Weta Digital
Trixter
Crafty Apes
Perception

The Production VFX Supervisor is Janek Sirrs.

how they shared the workload among the vendors?

The days of simply picking and choosing vendors, exactly matching skillsets and specialties to the needs of individual VFX sequences, are long gone. Vendors are being overburdened with work from several clients, resulting in modern tentpole VFX films commonly booking vendor capacity before knowing what the work will entail.

So it’s more about collaborating with trusted vendors with whom they’ve previously developed solid connections, knowing that together they can sort things out and divide and conquer once things are clarified. As sequences begin to resolve, the trick is to maintain a healthy mix of work for all suppliers on board, rather than burdening just one with all of the onerous labour.

In terms of vendors, they started with six big players: Framestore, Sony Imageworks, ILM UK, WETA, Luma, and Digital Domain, all of whom had worked on previous Marvel series and were familiar with the process. That history also meant they had a good sense of how to split up the show so that everyone was happy once they understood where they were going. Later in the production, the workload naturally increased, so they brought on Spin, Perception, Trixter, ILM SF, Capital T, and Crafty Apes to help.

How they assist the actors in visualising their magical abilities on set?

When it comes to gags like magical powers, interactive lights on set are a bit of a damned if you do, damned if you don’t issue. My basic rule of thumb is that if they know an event will happen with 100 percent certainty and the timing of that event does not require absolute surgical precision, then implementing interactive lighting gags on set is worthwhile. Otherwise, you’re better off exchanging the intrinsic realism of those in-camera gags for more post-production flexibility and imitating them digitally for their lighting cues, which isn’t always an easy task.

Zombie Strange VFX How they made it ?

The Zombie Strange character arose spontaneously during the story writing process. It was obvious from the start that they would meet various versions of Stephen Strange in a Multiverse film. So it was virtually which was before that they’d have some type of Sam Raimi wheelhouse dead character to play with as soon as they decided to murder one of them (after much deliberation, to be sure, but there are plenty of them to go around in an endless number of universes).

Dr Strange and America Chavez Free fall

They talked to Janek about it, and they both agreed that they should shoot something. they had the notion back on Geostorm that if you shot with 15 cameras encircling the actor, you can do a photoscan per frame and then re-project the 15 cameras. they produced a Framestore arrangement called doppelgänger with Rob Duncan and Richard Graham, where then shot with 15 cameras all around Gerard Butler and created this digital scan per frame, where it was a changing topology per frame, and they projected that to do all the astronauts in that movie.

Here they used five ARRI Alexas as an array in this shot. There are just not enough cameras to achieve photogrammetry per frame. because digi-double setup was such high resolution, they could produce a superb facial track while still using the re-projections.

World-building: breaking down just a few of the key multiverses

Living Tribunal Statue World
Onslaught Canyon World
Honeycomb world
Mirror World
Cube World
Paint World
Comic Book World
Post-apocalyptic World
Underwater World
Alternate New York
Pipe World
Savage Land
Hydra World
world that didn’t make it

20 Shots in One Sequence


As a single shot, they worked on animation and simulation. Then they have rendered each universe as a separate shot. That gave us a total of 20 shots. The workflow they used required the animator to populate the bake into 20 shots each time they baked the animation. As a result, they have 20 separate light rigs, so the characters are always lit differently from world to world—a it’s completely different lighting setup each time. Having 20 locations in one scene was simply unachievable; it was simply too taxing on everything. As a result, they treated it as if it were 20 individual photos.

They did a total of 20 different photos. On the 20 shots, there were at least seven or eight different comp artists, and then there was one artist that put everything together, which was a huge challenge because of all of these portals.


THIS ARTICLE IS WRITTEN BY NABSPY