Spider-Man: Far From Home – Without CGI – Part 2 [RSP VFX Breakdown]

With the power of CGI, there is no longer such a dependency on fancy camera trickery like filming a scene on its side and rotating it in post-production, in order to make an actor in blue and red spandex look like Spider-Man hanging off the side of a London building. No, nowadays, we can just make a computer-generated Spidy and slap him on top of another computer-generated background.

But, before you go hating on the artificialness of computer graphics; saying things like “soon all the actors will be replaced with CG ones”, and they probably will, but there is actually a crazy amount of human creativity that goes into making these VFX. The concept artwork, look development, animation choices and a ton of other genius ideas that you wouldn’t even have noticed until people like us point it out to you.

So, in this video, we’re going to review some of the work ‘Rising Sun Pictures’ did to show you just how much creativity actually goes into CGI in this VFX breakdown of Spider-Man Far From Home – Part 2.

Spiderman Far From Home was so jam-packed full of huge and impressive monsters, stunts and overall action that seeing a smaller 3D hologram of the monsters and their origins may have slipped by almost unnoticed and, therefore, definitely unappreciated. It’s just some fancy pictures of the baddies, right? Skip to the action, c’mon…

But no, these holograms were actually quite involved and some of ‘Rising Sun Pictures’ most complex work in ‘Spider-Man: Far From Home’.

As, aside from fixing a few things at the beginning of this scene… Urgh, wrinkles… hmm, much better…
Research into the latest scientific hypotheses on the behaviour of black holes was needed just to get an idea of what hell they’d even look like close up AND in 3D.
Then they combined all of those latest theories as well as theories on how they distort time and light; along with the audience’s expectations of what they look like, based on other movies; to then put it all together in a way that was in keeping with the style of the Marvel Cinematic Universe.

For the earth water wind and fire Elemenalts and their origins, VFX artists had to study up on ancient statuary and totems, doing extensive research on deities related to each element.

The CG department used artefacts from different countries to base the elements on. While the studio’s 2D department took on the role of putting together the live-action and CG elements and finalizing the whole thing.
Everything also had to be further processed in order to give the style of holographic look that we see in the movie.
In order to light the actors on set with the light that would be coming off the holograms before they’d even made the holograms, they used a table with a lighting panel on the surface. Unfortunately, RSP was tasked with having to dim it; add layers so that it would follow any changes in light of the holograms and, in some instances, completely remove it!

And, as if that wasn’t enough, the hologram also had to follow a similar style to the other holographic elements throughout the Marvel movies while, at the same time, adding something new and exciting to keep it fresh.

Finally, RSP also worked on the scene where Nick Fury tranquis Peter Parker’s best friend Ned.
They added the tranquillizer dart and also some more holograms that shine out of the tiny device Fury pops on the table.
The holograms for this scene were also full of an extensive amount of work involving split-screens and clean-up.

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