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Hours have been spent going through visual media, which can be scientifically-based art concepts and found media, to help create images that are special to the show.” Adding an element of surrealism is the Astral Form, Eldritch magic, portals and Mandelbroting associated with Doctor Strange, leading to the various dimensional versions of the train sequence taking place at the same time. “It’s very important to create something the audience can relate to and is visually fresh. “Concepts like the multiverse require quite a bit of visual research on many levels,” states Waegner. Magic and the multiverse had their own unique technical challenges.
#VISUAL EFFECTS SOCIETY AWARDS MOVIE#
“He’s collaborative and at times will even act out specific actions he feels are important for these characters.” Watts has collaborated through the trilogy with The LEGO Batman Movie screenwriters Chris McKenna and Erik Sommers, twice with Special Effects Supervisor Daniel Sudick ( Ant-Man and the Wasp), and welcomed Production Designer Darren Gilford ( The King’s Man) and Cinematographer Mauro Fiore ( X-Men: Dark Phoenix) into the fold. “Jon Watts is very passionate about the story he’s telling and his characters,” notes Waegner. One theory for this is that Marvel Studios can exert more control over the production, while others suggest that it has to do with the ability for indie filmmakers to develop empathetic characters which are what immerse audience members in the storyline, not the visual effects spectacles. Marvel Studios has gotten in the habit of choosing those with a proven indie track record rather than established Hollywood directors. Like Webb, Jon Watts made a name for himself as an indie filmmaker with the crime thriller Cop Car (2015), revolving around two 10-years-olds taking an abandoned cop car for a joyride only to be pursued by a sheriff looking for the missing vehicle. And it’s on us to forge solutions that encourage young visionaries to pursue this career path and get the word out. It is completely accessible and can be a profitable, stable, long-term career. Some believe this is a dream job – it is not a dream job.
#VISUAL EFFECTS SOCIETY AWARDS FULL#
We need to go back to the university level to build our talent pool and break the barriers that limit advancement and demystify our field, including giving students exposure to the full spectrum of technical and creative jobs that are available. Priorities make diversity, equity and inclusion happen.
#VISUAL EFFECTS SOCIETY AWARDS CODE#
Writing code for digital tornadoes was a perfect blend of my computer science and arts background. That pursuit gave me my jumpstart creating vortexes and particle systems on Twister. I applied for an internship at ILM multiple times while I was in graduate school and was finally accepted on my fourth try. My gateway to visual effects was a testament to persistence and a kind of accidental pathway.
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