A whole bunch of Black Panther VFX Breakdown

A whole bunch of Black Panther VFX Breakdown

Black Panther

Fantasy/Science fiction film Director By Director: Ryan Coogler

Black Panther VFX Done By 

Industrial Light & Magic -VFX Supervisor: Craig Hammack

Method Studios -VFX Supervisor: Andy Brown

Double Negative -VFX Supervisor: Stuart Lashley
Luma Pictures -VFX Supervisors: Vincent Cirelli & Brendan Seals
Digital Domain
Mammal Studios
Rise Visual Effects Studios
Scanline VFX
Storm Studios
Perception NYC

Production VFX Supervisor is Geoffrey Baumann

  • capital T – 41 shots – Compositing, simple blue screen, split comps, clean up.
  • Double Negative – 78 shots – 3rd act Vibranium Mine fight.
  • Exceptional Minds – 38 – Compositing, simple blue screen, split comps, clean up.
  • Ghost – 41 shots – 3rd act interior shots as Ross flies RTF hologram.
  • ILM – 403 shots – Shots throughout the film focusing heavily on the enviroments of Wakanda and the Golden City.
  • Luma – 232 shots – The casino fight, and car chase that follows, as well as the CIA blacksite.
  • Mammal – 578 shots – Compositing, simple blue screen, split comps, clean up, as well as all temp comps and color for the few non VFX shots.
  • Method – 407 shots – Primarily the 3rd act on top of Mount Beshanga, they also did some of the work in Shuri’s lab.
  • RiseFX – 180 shots – Built and designed Jabariland. They also helped out in Shuri’s lab.
  • Scanline – 385 shots – The big focus here was the waterfall environment for the two sequences that take place here. They also did the work at the British museum and abandoned airfield in Korea.
  • Storm – 8 shots – The prologue.
  • Trixter – 205 – The Nigeria extraction as well as the Oakland apartment.

Black Panther VFX Breakdowns By ScanlineVFX

Scanline VFX worked on 385 shots.

Oakland/Kilmongers Astral Plane

Environment and Extensions
Holograms, CG Lip tattoos, Royal Talon Cloaking effect
Costume augmentation
Astral Plane effect

Airport Sequence

Arm removal and replacement for Klaue
Cloth Sim, muzzle flashes, bullet hits and blood

British Museum Heist

Muzzle flashes,London Environment extensions, Breaking glass
Klaue sonic arm effect, CG axe head and corrosion removal effect on axe hammer
Klaue prosthetic arm clean up and effects

Warrior Falls (Our main scope of work)

KCA (Kings Challenge A) sequence T’challa vs M’Baku
KCB (Kings Challenge B) sequence T’challa vs Kilmonger
Full CG ENV and set Extensions
Digital Crowd extension
African ENV include waterfalls, Pond Augmentation, cliffs and river, trees,mountains and sky
CG pond augmentation includes full replacement using rotomated characters for CG pond interaction. Also extending and replacement of shields and swords
Added challenge masks and face replacements

Black Panther VFX Breakdowns By Method Studios 

Method created the 3,600 square km digital environment, along with suits made of dynamic nanotechnology, digital doubles for Black Panther and Killmonger, and the bulk of the film’s third act battle between multiple visually-distinct warring factions. Method also contributed design work and shots showing the inside of Wakanda’s vibranium mine, the look of Shuri’s lab as well as animating gadgets within, and created CG rhinos, vehicles, and weapons.

Production VFX Supervisor:  
Geoffrey Baumann

Method VFX Supervisor:
Andy Brown

Method Associate VFX Supervisor:
Todd Perry

Method was also tapped to bring Black Panther’s and Killmonger’s suits to life digitally. Using concepts from Marvel’s lookdev team as a jumping off point, Method’s suits needed to be photoreal and hold up to scrutiny in both action sequences and downtime in Shuri’s lab. In addition to the look of each suit, which incorporate Wakandan glyphs and other unique design elements, the suits have active properties that needed to feel believable.

Additionally, Method was responsible for the bulk of the film’s third act battle between multiple warring factions, ultimately leading to a one-on-one showdown between Black Panther and Killmonger. Method built the Talon Fighter and Dragonflyer aircrafts and created 40 digital doubles plus crowd simulations for the large fight. Given that each faction has unique fighting styles, Method directed motion capture sessions based on input from stunt coordinators to gather a foundation for each style.

Method also contributed design work and effects shots showing the inside of Wakanda’s vibranium mine, the look of Shuri’s lab as well as animating gadgets within, and created CG rhinos, vehicles, and weapons.

Black Panther VFX Breakdowns By Storm Studios

Espen nordahl vfx supervisor head of CG Storm studios

Storm Studios worked on 8 shots  made the prologue, an almost 2 minute long sequence which tells the origin story of Wakanda. It is a stylized, full CG sequence where everything is made out of black sand. The camera travels through numerous stages of the history of Wakanda and the origin of the Black Panther. 

Black Panther VFX Breakdowns By Luma Pictures

Luma Pictures worked on  227 shots The casino fight, and car chase that follows, as well as the CIA blacksite. Kevin Souls VFX Supervisor at Luma Pictures lead their team for Epic VFX in the movie. Luma’s team was gathering insights into how the characters would fight, move, and jump. They did a series of motion capture sessions inhouse with the stunt performer doing parkour moves. In a chase sequence set in the Korean city of Busan, Black Panther does a reverse jump off a Four Runner van onto the Lexus car. That move was partially captured right there at Luma LA, then pushed into animation and modified to work in the scene.

Luma’s team worked on car chase sequence, The sequence features title character (played by Chadwick Boseman) trying out his new kinetic energy suit in the field, to destructive effect, much of it hanging onto the roof of a Lexus LC 500. Luma combined real photography with cg environments, extra destruction effects, and a cg Black Panther to complete the final shots, including one-take that required scores of versions for trailers and the finished film.

Black Panther VFX Breakdowns By RISE

VFX supervisor Jonathan Weber and his team delivered on 180 shots

Rise did the primary work on the Jabari Land sequences. This included the scenes set in the outskirts, the regal Throne Room which our Munich facility created, plus the establishing shots for each respective setting. We also worked on the scene where our main protagonists are approaching the Healing Hut high up on a steep Wakandan mountain side. Each one of these required ample set extension work and complete digital environments to help embellish the Jabari Land experience

Black Panther VFX Breakdowns By Industrial light Magic-ILM

ILM worked on 403 shots including  Creation of Wakanda and the Golden City environment. ILM worked on complex vfx work bringing the Vibranium-powered capital of Wakanda to the screen.

Black Panther VFX Breakdowns By Trixter

Michael wortmann vfx supervisor 

Trixter worked on 205 shots. Trixter team worked the Nigeria Night Attack sequence at the beginning of the film, the scene in the Oakland apartment with Black Panther’s father T’Chakka, the end sequence on the Basketball field in Oakland and Trixter did the secret end tag with Bucky in Wakanda.

Black Panther VFX Breakdowns By Perception

Perception have done conceptualizing technological paradigms, interface design, animation, vfx, and an elaborate title sequence. In June of 2016, the team at Perception consulted with Marvel Studios to explore the different ways technology could be envisioned and impact the mythological world of Wakanda.

Black Panther End Title Sequence – MOS-Perception

Black Panther was the third Marvel Studios title sequence that Perception created in 2017, and by far the most ambitious. When work began, there was little debate amongst the team at Perception, the title sequence would be another element rendered in Vibranium sand. The theme was to be fun and energetic— with the energy of a music video. We would see characters and iconic moments being entered into Wakandan history, with swinging camera-moves and bright color-coded backgrounds. Perception presented this idea to Director Ryan Coogler and the team at Marvel Studios, and was given the green-light to begin.










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