![]() ![]() ![]() From a visual effects standpoint, what was different? You worked on The Amazing Spider-Man in 2012 and The Amazing Spider-Man 2 in 2014. We sat down with Sony Imageworks VFX supervisor Theo Bailek, who talks about the studio’s contribution to this latest Spidey film. They also used the Sony “Kinect” scanning technique that allowed their artists to do performance capture on themselves and rapidly prototype ideas and generate reference. Everything was rendered internally on their on-premises renderfarm. They avoided plug-ins so that their auto-vend, breaking of comps into layers for the 3D conversion process, would be as smooth as possible. Software used was Autodesk 2015, Foundry’s Nuke X 10.0 and Side Effects Houdini 15.5. Rendering technology was SPI Arnold (not the commercial version) and their custom shading system. They used Cinesync for client reviews and internally they used their in-house Itview software. This meant delivering over 500 VFX shots, created by over 30 artists (at one point this peaked at 200) and compositors, and rendering out 2K finished scenes.Īll of the Imageworks artists used Dell R7910 workstations with Intel Xeon CPU E5-2620 24 cores, 64GB memory and Nvidia Quadro P5000 graphics cards. On Spider-Man: Homecoming, Imageworks worked on mostly the “third act,” which encompasses the warehouse, hijacked plane and beach destruction scenes. Sony Imageworks has worked on every single Spider-Man movie in some capacity since the 2002 Sam Raimi version. With Sony’s Spider-Man: Homecoming getting ready to release digitally on September 26 and on 4K Ultra HD/Blu-ray, Blu-ray 3D, Blu-ray and DVD on October 17, we thought this was a great opportunity to talk about some of the film’s VFX.
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