Thor: rag­narok

3D World - - INDUSTRY -

Take a deep dive into com­mu­ni­ca­tion across the Mar­vel Cine­matic Uni­verse with VFX su­per­vi­sor Jake Mor­ri­son

“The Mar­vel films are big beasts – and they keep get­ting big­ger. Our main driv­ing goal on each pro­ject is to make sure we never, ever re­peat our­selves. The worst thing our au­di­ences could think would be, ‘Oh, it’s just an­other big-bud­get vis­ual ef­fects film.’ We want to al­ways move things for­ward and take our au­di­ences on a jour­ney along with the char­ac­ters.

“Thor: Rag­narok is the per­fect en­cap­su­la­tion of this think­ing. It is big, bold and beau­ti­ful, fea­tur­ing some of the cra­zi­est vi­su­als we’ve put on screen yet. And cinesync, as al­ways, was the tool on hand used to fa­cil­i­tate com­mu­ni­ca­tion be­tween the teams that con­structed them. “Work­ing on a show like Thor:

Rag­narok is like plate spin­ning – but you have lots of plates go­ing at the same time. Dif­fer­ent ap­proaches to the same shot might bring out com­edy or drama, or ex­cite­ment. I spend most of my time talk­ing with peo­ple on the other side of the world – check­ing in and re­view­ing their dailies to dial in that tone and get it feel­ing just right. cinesync sits at the core of that process, mak­ing sure feed­back is com­mu­ni­cated ef­fec­tively and in­stantly.

“We need com­mu­ni­ca­tion tools to help hit the right tone faster, which can mean more time for cre­ative it­er­a­tion. We’re in a vis­ual busi­ness. What’s great about work­ing with cinesync is sketch­ing in the ap­proach an­gle of a space­ship, or the di­rec­tion of Thor’s ham­mer in flight, or de­tail­ing the out­line of a cityscape – what­ever is in the dark re­cesses of your mind.”

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