Rather than relying solely on physically based simulations, the FX team created a reusable library of 2D hand drawn FX elements often also animated on twos. In keeping with the graphic, stylized look of the film, even the FX department made use of hand drawing techniques. We wanted crisp pop with aggressive clarity. We didn’t want to be too choppy and not smooth.

We worked hard to get the animation on twos to work both with simulations and complex camera moves. To make it feel right without having to be limited by the restraints of reality. Comic book sound effects were incorporated into shots and comic panels made out of webbing show montages and background action.īut animation allowed the team to break physics. Single “comic book” panel frame holds were cut into sequences. When we make Spider-Man in live action, it’s hard to put Spider-Man in these fantastic comic book poses because we had to deal with the world real physics. It led us to frame modulation to get this slick, crispy version of pop art. To deliver the best representation of comic books brought to animated life, we had to break and overhaul our way of looking at things. Josh Beveridge, Head of Character Animation At Imageworks, we have an amazing robust pipeline, and I think we have forever altered our pipeline thanks to this project.' 'Our big challenge was creating that balance between being cartoony and realistic.

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