Like Marvel Studios’ “Thor: Love and Thunder” adopts a new technology

The Marvel Cinematic Universe (MCU) is renowned for its unique creatures and environments, but they are rarely fully realized until post-production. This, in turn, requires the actors to create a mental image of their stage partners and their surroundings.

Marvel Studios’ Thor: Love and thunderhowever, it changed that.

Now he plays exclusively in theaters, Thor: Love and thunder is the first MCU film to use a new technology, The Volume, which surrounds the actors in a 360-degree digital environment, instead of filming them against a blue or green screen. The digital landscapes were about 90% completed, then refined with live-action elements. The technology was previously developed by Industrial Light & Magic (ILM) to serve as an end-to-end solution supporting all aspects of virtual manufacturing. ILM StageCraft has been used in several Disney + Original series, including The Mandalorian And Obi-Wan Kenobi. How Thor: Love and thunder Executive Producer Brian Chapek explains, “It allows you to create fully immersive worlds and create a seamless effect between the real world and the digital world.”

Chris Hemsworth, who plays Thor and serves as executive producer, says The Volume was an “incredible” cinematic experience. “If you’re standing on the edge of a cliff watching a sunset, actually watching a sunset brings out emotions and reactions that you might not get using a blue or green screen. It’s visually stunning because you get the real reflection from the background, a nice orange glow on your skin from the sun, ”says Hemsworth. “It’s a beautiful interaction that occurs.”

Like Hemsworth, Tessa Thompson, who plays King Valkyrie, found that The Volume offered creative freedom. “The volume makes it easier because you don’t have to imagine what you’re seeing,” she says. “You’re looking at it and it’s beautiful. The way he lit up our faces and our costumes was truly engaging and otherworldly. “

It helped him Thor: Love and thunderThe cinematographer, Baz Idoine, had a direct acquaintance with The Volume, from his time in which he worked The Mandalorian, which also used technology. Idoine worked in tandem with Jake Morrison, second unit visual effects supervisor / director, to perfect the film’s expansive and breathtaking digital sets. “The volume helped us create large dimensions for the film,” recalls Morrison, who has worked on all of the Thor films since 2011. “One of the larger volume sets was Omnipotence City, the home of the gods. When all the actors were on The Volume, they were able to see this incredibly vast world. Prepare the foundation for the adventure the characters find themselves in. “

However, for some scenes in Thor: Love and thunder, the real-life sets had yet to be built. “During pre-production, we decided whether it was a set to be built physically or digitally,” shares Morrison. “Early in the trial, I explained to Nigel Phelps, our production designer, that he shouldn’t have seen it as anything other than his normal trial of him. He should design the sets as he normally would. “

“As great as the technology is, you can never replace standing in a fully immersive physical set,” adds Chapek. “One of the most impressive sets we created was New Asgard, which was a complete city. The moment you step on it, you swear you were there in a real city in Norway.

Thompson agrees, saying, “Every single window felt like a place you could walk into. It blew me away: the cobblestones, the attention to detail in the tiniest corners and crevices that the public might never see. Incredible as it is. Seeing the advances in technology, the exciting thing is when you can combine it with practical work. It was so exciting Thor: Love and thunder, because we had state-of-the-art technology, but many, many people worked hundreds of hours to make something look real. It is simply amazing to get around this.

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