We had to make it seem like the last battle in a long war and the Asgardians are about to overwhelm them before the secret weapon is unleashed.”īlur took digital models of Asgardian and Elf fighters created by Double Negative and worked them into the studio’s full-CG pipeline. Right now it’s a graveyard for the Dark Elves but in our sequence it’s a vital planet where the Elves live. “So we had lot of latitude on how we could change what they had shot for present day Svartalfheim and how we could adapt it. “This scene was taking place 5,000 years before the rest of the film,” adds Tim Miller, Blur’s co-founder and creative director. “It made more sense to construct a solid 3D base and that would enable us to point the camera at will with minimal additional effort on the back-end once we got into compositing.” The scene was mostly made of fully-digital characters and environments.
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“We approached the Prologue from a pure 3D perspective knowing that we would have 80 plus cameras looking at the environment,” outlines Blur visual effects supervisor Kevin Margo. The challenge: Blur Studio, with a strong history of cinematics work, realized much of this Prologue sequence completely digitally based on environments and assets already being created by other vendors. But the Dark Elf leader Malekith and his lieutentant Algrim escape and go into suspended animation. What happens: In a battle between the Dark Elves and the Asgardians 5,000 years ago on the Elve’s home world of Svartalfheim, Odin’s father Bor captures a dark weapon known as the Aether.
The Prologue Blur Studio handled The Prologue sequence. With so much work in the film, fxguide takes a look at just a portion of the main visual effects shots and sequences and the facilities behind them.Ībove: take an exclusive look at The Third Floor’s previs work for Thor: The Dark World, thanks to our media partners WIRED. Morrison was also aided in production by second unit visual effects supervisor Stéphane Ceretti. The Third Floor delivered previs, techvis and postvis throughout the production. Heavy lifting on The Dark World’s visual effects was handled by Double Negative, with several other effects vendors contributing key shots and sharing many assets and sequences. If you were living in Asgard, these are the places you would go for a beer.” “There’s now a medina, there’s a town area. “The over-driving aesthetic was to make Asgard a place that you could actually live in,” notes Morrison. Helping to achieve enhanced views of Asgard, as well as many other locations and characters in the film, were overall visual effects supervisor Jake Morrison and visual effects producer Diana Giorgiutti. That is particularly apparent for Thor’s homeland of Asgard, a location seen in the first film but now made even more visible by director Alan Taylor. Director Alan Taylor on the set of Thor: The Dark World. Doctor Strange director Scott Derrickson resigned from directing the sequel in early 2020, and famed Scott Pilgrim and Zombies Party director Edgar Wright also left Ant-Man over creative differences.With Thor: The Dark World, Marvel continues to cement its incredible reputation in bringing the studio’s Cinematic Universe to life, as well as continuing to broadening the worlds and characters that we see with inventive visual effects. Marvel has historically had a very controlling relationship with the directors of its major productions., which has led several of them to reject projects due to creative differences. “ I really admire the skill set of someone who can come in with a very personal vision (like Taika Waititi or James Gunn) and manage to combine it with the big corporate demands.“says Taylor in the interview.” I think my skill set may be different“. So I came out of it having to rediscover the joy of filmmaking“.ĭespite being an Emmy-winning television director for his work on Game of Thrones and The Sopranos, Taylor suggests that a type of writer-director like Thor: Ragnarok’s Taika Waititi could have saved The Dark World. “ I had lost the desire to make movies“, dice Taylor. Alan Taylor adds that directing Thor: The Dark World affected him so much that his partner recommended that he decline directing Terminator: GenesisBut Taylor took the job with similar results: a respectable box office, but a lousy reaction from fans.
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