ILM delivered under 400 shots, with New York having fewer shots than Hong Kong (200 vs 150). As the film progressed, the Astral body work would move to other facilities and ILM would focus primarily on the vast New York and Hong Kong sequences. The concept of an existence or consciousness as an “astral body” that is separate from the physical body has been well discussed in various forms of esotericism, – But ILM still had to work out what this would actually look like on screen. The idea of an Astral projection as a controlled or willful out-of-body experience, was central to many of the film’s effects sequences. Bluff and team started about 10 months before principal photography “to plan out the New York sequence but also to Lookdev a lot of the Elder Magic, and the Astral projection,” explained Bluff. The film was in post-production for a relatively short 5 1/2 months in total, so key work was started often before principle photography. He had previously been nominated for a VES Award for Marvel’s Agent Carter (2015), – which he shared with several others including Sheena Duggal, who also contributed in a smaller role with some shots in Dr Strange. Bluff has done many films including the brilliant small budget Lucy. Richard Bluff has already won a HPA Award for Dr Strange’s VFX work, along with Stéphane Ceretti. Although not featured much in the pre-publicity for spoiler reasons, ILM also produced the equally breathtaking reverse time fight sequence in Hong Kong at the end of the film. The folding Manhattan is known internally as the Mirror Sequence. ILM produced some of the most remarkable footage to appear in any trailer this year when the world saw glimpses of the chase through New York. The particularly powerful final grade of the film was overseen by Senior Colorist Steve Scott. For several of the high speed sequences, such as the car crash, Love High Speed provided special complex Phantom Flex 4K rigs, shooting at up to 1000 fps. For some scenes, companies such as ILM delivered two versions of a shot: a master IMAX framed for that aspect ratio and a second version with different composition that could be used for other digital and second screen releases later.ĭOP Ben Davis, who shot both Guardians of the Galaxy (2014) and Avengers: Age of Ultron, lit the film and chose to use both the Arri Alexa 65 (6K), as well as with the Arri Alexa XT Plus. The IMAX aspect ratio is 1.90:1 and the normal aspect ratio for the other shots is a standard 2.35:1. This allowed not only for a better cinema experience but also a different, more square aspect ratio for those sequences. The film was shot partly at IMAX resolution. He went on to work again as a second unit supervisor on Marvel’s Thor: The Dark World. In 2014, he worked on Guardians of the Galaxy as the Marvel Visual Effects Supervisor and along with Nicolas Aithadi, Jonathan Fawkner, and Paul Corbould, was nominated for a 2015 VFX Academy Award. Ceretti’s first adventure with Marvel Studios was as second unit supervisor on Joe Johnston’s Captain America: The First Avenger. He moved to London, where he worked at Moving Picture Company and then Method Studios. The French born VFX supervisor began his career as an animator and then as a VFX supervisor at BUF Compagnie in Paris. The film was supervised by Stéphane Ceretti. His journey takes him to the temple of the Ancient One (Tilda Swinton), where his discovery of magic begins. Finding no solution in science, he travels the world searching for an answer that might bring him relief. Unwilling to accept that his life must change, Strange becomes obsessed with healing himself. The creation of artist Steve Ditko, Strange (played by Benedict Cumberbatch) is a master of ‘black magic’ armed with magical objects and a pet cloak, he defends earth against other dimensions.ĭr Stephen Strange is a brilliant surgeon whose career abruptly comes to an end following a tragic car accident. Marvel’s latest comic book hero to receive the big-screen treatment is Doctor Strange.
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