Love and Thunder ~ Marvel Universe 616

The sequel to Thor: Love and Thunder’s “Shadow Realm” has some behind-the-scenes footage coming out thanks to an article from Before&Afters. Visual effects supervisor Jake Morrison talked about how he got this dramatic lighting in order. But, this sequence was much more than incredible saturation. The ideation around a small moon proved to be a challenge as well. See below:

Waititi’s films end up being full of visual flourishes and this one was no different. When the first trailer for Love and Thunder hit the internet, fans were stunned by the black and white sequel without seeing the entire final product. Most critics of the project made a point of mentioning the Shadow Realm sequel as one of the highlights of the film. But hearing about how much work has gone into these elements is nothing short of impressive. Check out some facts here.

“We shot with a progression in the lighting rig that we did for the last shoot, the Satellite Lab shoot that we used for Valkyrie’s flashback in Thor: Ragnarok,” Morrison revealed. “It’s a lighting rig they call a Platelight that lets you shoot your actors lighting them normally, but you actually light them from six different angles. You’re lighting it with a key light and an accompanying fill for each angle, but of them being continuous sources, you turn those lights into what are effectively strobe lights.”

“So when you shoot your actors, you shoot with an incredibly high speed camera. But instead of being a single strobe light per frame like we used in Valkyrie’s flashback, now you’re using huge banks of 50 or 60 strobes. industrial grade, which are lights that can be controlled in milliseconds,” he added. “I’m not kidding when I say that – we drain the planet with this particular kind of light. At one point I had our gaffer, Reg Garside, saying, ‘I think I found two more in Iceland…’. So we got these together. lights, so we built these six huge banks of light around the sound stage in Sydney at Fox Studios.”

Of the set set, Morrison said that “we filmed all of this on a small lunar surface slab that was built into the stage in Sydney. As the stage piece never changed, I was worried that this meant that all the lighting work wouldn’t look like much. But then we said, ‘Let’s destroy the planet to make it more visually interesting!’ The minute we destroyed the planet, that gave us a good excuse for all this floating, low-gravity debris, plus a layer of dust.”

“My pitch to Taika was to do something like car headlights in the fog, but do the opposite of that. Let’s leave everything on, but ‘car headlights’ that go by are actually shadows passing by. It turned out to be volumetric shadows – an abundance that the Method Studios in Montreal layered it there.”

“The camera we were using was the Phantom v2640 ONYX. It can reach an insane rate of fire, which helps ensure that each pass of lighting you’re shooting is as in-time as possible with the next. up there in terms of speed, but as with any physical production, there’s a balance between the theoretical and the practical; the faster you shoot, the more light you need. We ended up establishing 576 frames per second, which is 24 by 24 Each pass is actually separated by a small delay which needs to be realigned using optical flow” said the supervisor.

Morrison also revealed a detail about how he used color for the black and white shoot. “A really interesting challenge. If you look closely, every time the heroes are on the rise, when they’re at an advantage, they get more color. And when they lower the beats, it’s more black and white. I was so fed up with having that recreate CG versions of the characters to do all the lighting effects over the years, which we’ve been doing since the nineties. Sometimes it’s great and sometimes it’s not. You need to have a perfect record to make the lighting effects believable This is the first movie I think has ever been made where you were able to dial this in using the actual light that was on the actor in the day. We could pick the light we had on the board and type that in. Light is additive, so you It’s just adding that light and sculpting it. It’s an incredibly expressive tool.”

Taika Waititi, who directed Thor: Ragnarok, returns for director Thor: Love and Thunder. He also co-wrote the film’s screenplay with Jennifer Kaytin Robinson. The film stars Chris Hemsworth, Tessa Thompson, Natalie Portman, Christian Bale, Chris Pratt, Jaimie Alexander, Pom Klementieff, Dave Bautista, Karen Gillan, Sean Gunn and Vin Diesel.

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