![]() Raymond Chen // We had previs for many of the sequences which involved flying, and storyboards for the shots where we didn’t have previs. For the shot work, we took on a series of sequences with Anthea’s ‘Power of Axis’, the introduction of the unicorns in the nest, the fight scene underground between Shazam and Hespera, the dome sequence with the magic carpet, as well as the giant end battle! To name a few.Ĭan you tell us more about the shooting of the flying sequences? Asset-wise, we were tasked with building all of the digi doubles for the superheroes, as well as the creatures like the unicorn and the dragon, Ladon. Russell Bowen // As the lead VFX partner, DNEG was spread across a range of sequences and assets, delivering more than 750 shots in total. One example of this was when the DNEG team proposed some changes to the dragon’s designs to take the approved sculpt and make the creature’s anatomy and proportion feel more powerful and balanced. While he definitely had a clear sense of what he wanted, he was open to creative input. Raymond Chen // The collaboration with David was great. How was the collaboration with Director David F. I’ve worked with Raymond on a number of previous shows and was excited to jump back in with him at the helm. Russell Bowen // With Raymond Chen already onboard as the Production Supervisor alongside Bruce Jones, together with the amazing DNEG team, I joined the show as the VFX Supervisor not long after. He has worked on films such as Godzilla, Maleficent, Batman v Superman: Dawn of Justice and Venom: Let There Be Carnage. ![]() He has worked on a number of projects including John Carter, The Fate of the Furious, Pacific Rim: Uprising and Venom: Let There Be Carnage.īefore joining DNEG, Ricardo Miguel Roldao Silva worked in many studios such as Framestore and MPC. Russell Bowen started his career in visual effects in 2009 at DNEG. He then worked on Ghostbusters: Afterlife. In 2020, Raymond Chen explained the visual effects work made by DNEG on Togo. ![]()
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