The Multiverse of Madness WITHOUT VFX
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In order to create the "Ruined Worlds", digital domain began by designing two separate realities.
One was based on the New York City that we all know and the other was a Victoria-inspired version of New York.
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Next, their artists added assets to match each world, including buildings, landmarks, and even the director Sam Raimi's own 1973 Oldsmobile Delta 88.
If fact, this car has appeared in all of Sam Raimi's movies, and in this movie, it appears twice, once in this "Ruined Worlds" scene, and once as a monster truck when Wanda meets her kids again.
The VFX team also had to recreate physical sets digitally to bring collisions down to the street level and to add set extensions and the Cloak of Levitation.
The Apple Orchard scene was actually filmed on a real farm in England.
But due to rescheduling because of covid, the trees weren't actually in bloom when they came to film there! So the practical effects team had to tie thousands of fake blossoms to the trees and thousands more were later added digitally.
The transformation sequence begins with an effect similar to the Hex Wall magic effect that appears in Wandavision but with a more powerful, corrupt, and chaotic feel to it.
The plates for the sequence after the transformation was complete were shot on a blue scene set with a few physical props that were then digitally enhanced later.
During the Kamar-Taj battle, Wanda steps into a trap where mirrors and reflections become a prison. For this effect Digital Domain decided to create a smaller, more compact version of the Mirror dimension that was introduced in the first film.
For the live-action components of the scene, several versions of Wanda reacting in different ways were shot on a greenscreen stage,
Digidoubles were also created to push through the mirrors and reflections.
When Wanda fires a hex bolt the mirror shatters and creates these shards that were generated in Houdini.
Trixter provided 80 vfx shots over a 4 month period and the majority of work was on the Dreamwalk scene.
Trixter created digital ceilings, The Mount Wundagore Spirits, and CG Candles and Candlelight.
On the practical set, a stand-in Dr. Strange attached to wires was jerked about to give the body convincing weight and motion.
Christine ends up using the Brazier of Bom'Galiath which produces a massive ball of fire. The live-action version of this was basically just a big LED torch and Trixter had to turn its white light into a fiery amber and enhance the mouth of the brazier for lighting interaction.
But perhaps the most complicated thing they had to achieve was to make us believe that America Chavez's Star-shaped portals were real, That there really was a zombie Dr. Strange, and that the Cloak of levitation could magically fly, could express its own personality, and (Perhaps the hardest of all) was actually made from real physical cloth!
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