The new techniques required much trial and error, and many failed experiments fell by the wayside before the filmmakers found the groundbreaking look.Check Home Theater 101: The New Frequently Asked Questionsīefore asking 'What TV, Speakers, Subs fit blah blah'. The nature of the new aesthetic required more collaboration among people working on different parts of the pipeline. The overall comic book aesthetic of halftoning and hatching was carried over to the environment’s as well. A screen space cell pattern is used to combine these multiple renders into a 3D fracturing of the Spider-Verses. To create this glitching effect, the animation is rendered through multiple camera angles and each is rendered with a unique look. These hand drawn elements were combined with traditional 3D simulations to create a distinctly illustrative feel for FX elements such as explosions and fire.Īnother great example of stylized FX in the film is the multidimensional glitching effects the collider has unleashed by messing with the multiple Spider-Verses. Rather than relying solely on physically based simulations, the FX team created a reusable library of 2D hand drawn FX elements often also animated on twos. In keeping with the graphic, stylized look of the film, even the FX department made use of hand drawing techniques. We wanted crisp pop with aggressive clarity. We didn’t want to be too choppy and not smooth. We worked hard to get the animation on twos to work both with simulations and complex camera moves. To make it feel right without having to be limited by the restraints of reality.

Comic book sound effects were incorporated into shots and comic panels made out of webbing show montages and background action.īut animation allowed the team to break physics. Single “comic book” panel frame holds were cut into sequences.

When we make Spider-Man in live action, it’s hard to put Spider-Man in these fantastic comic book poses because we had to deal with the world real physics. It led us to frame modulation to get this slick, crispy version of pop art. To deliver the best representation of comic books brought to animated life, we had to break and overhaul our way of looking at things. Josh Beveridge, Head of Character Animation

At Imageworks, we have an amazing robust pipeline, and I think we have forever altered our pipeline thanks to this project.' 'Our big challenge was creating that balance between being cartoony and realistic.

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