![]() ![]() We were also able to reuse our web shooter setup and Houdini web lookdev from Homecoming on our No Way Home work, which was useful.ĭigital Domain is a long-time V-Ray user. We were able to replicate this on No Way Home for the Alexander Hamilton bridge environment, which was much larger in overall scale. Instead, we modified some of our workflows so that we could reuse textures and lookdev from the main intact ferry asset on the secondary split ferry asset. We didn’t want to recreate the split version of the ferry from scratch, particularly considering the size of the asset. ![]() ![]() We then had to figure out how to recreate the same asset, but have it be split into two pieces as the story involved a Chitari weapon malfunction damaging the ferry. On Homecoming, we built a full CG environment asset for the Staten Island ferry scene. Rob Frick, DFX Supervisor, No Way Home : Both projects involved significant challenges. This isn’t Digital Domain’s first Spider-Man project! How did your work on No Way Home compare to Homecoming ? Discover what they had to say below and remember if you’ve still not seen the film, there are spoilers ahead! To learn more, we caught up with several team leaders - including VFX Supervisor Scott Edelstein, CG Supervisors James Stuart and David Cunningham, DFX Supervisor Rob Frick, and Animation Supervisor Frankie Stellato - who brought us behind the scenes on how Digital Domain created everything from Doc Ock’s new tentacles to an entirely CG Spidey suit. ![]() This time, V-Ray was used across all character work on the film-helping to recreate the Iron Spider, Peter Parker, Doc Ock, and more for big screen in style. The blockbuster brought photoreal V-Ray rendering back to the franchise after its previous use on Spider-Man: Homecoming. It wasn’t just classic villains that No Way Home brought back to the Spider-Man franchise. ![]()
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