The open­ing ti­tles se­quence for Dead­pool 2 by Method Stu­dios new York chan­nels the fa­mous Bond open­ers


Can you tell us how the open­ing ti­tles for Dead­pool 2 were con­ceived?

I had this idea to take Dead­pool through all the vis­ual tropes of a tra­di­tional James Bond-style se­quence, but with a unique Wade Wil­son twist. I cre­ated a set of style frames that vi­su­alised all the dif­fer­ent kind of im­ages and com­po­si­tions that we could ex­plore for a Bond-es­que ap­proach and we pitched it to pro­duc­tion.

As it turns out direc­tor David Leitch and VFX su­per­vi­sor Dan Glass loved the idea as much as we did.

Can you talk about how you went about plan­ning out the se­quence?

I started a rough an­i­matic that ba­si­cally com­mu­ni­cated how the cam­era would move, what the char­ac­ter an­i­ma­tion would in­volve and how to tran­si­tion from one shot to the next.

How was the Dead­pool CG as­set sourced?

We re­ceived the base model and a ref­er­ence turntable from one of the main VFX ven­dors on the film, which meant we had to cre­ate all the cus­tom ma­te­ri­als and shaders for Dead­pool to work prop­erly within our own CG pipe­line. Some of the feed­back we re­ceived was along the lines of ‘I can’t be­lieve that’s not Ryan Reynolds in the suit!’ and ‘How did you shoot Dead­pool do­ing all those dif­fer­ent things?’ – the se­quence is 100 per cent CG, folks!

In par­tic­u­lar, how was that ‘shower of bul­lets’ shot done?

We posed the char­ac­ter and an­i­mated the dance move to match the iconic Flash­dance ref­er­ence. Once the an­i­ma­tion was locked, we did a full dy­namic par­ti­cle sim­u­la­tion in Houdini of hun­dreds of bul­let shells fall­ing onto the body of Dead­pool, onto the chair, and ul­ti­mately the floor. The vol­u­met­ric spot­light and at­mos­phere were all cre­ated in the fi­nal 2D comp.

JOHN LIKENS -----------------------Cre­ative direc­tor, Method Stu­diosNew York meth­od­stu­

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