Director: David Leitch
Deadpool 2 VFX Breakdown VFX Done By
Production VFX Supervisor is Dan Glass
Deadpool 2 VFX Breakdown By DNEG
DNEG delivered shots that spanned challenging sequences from the opening to the finale of the movie. The scope of work encompassed every trick in the book; green screen comps, environment work, FX, animation and digidoubles, Cable’s cyborg enhancements, his look development and his hologram technology and massive full CG shots. Our mission was to take everything we know, and do it better.
This was a truly global show, managed from DNEG Vancouver and calling on the talents of our artists from around the world. The movie is a showcase of the broad range of visual effects and depth of talent available across DNEG’s global studios
Across all sites close to 600 people worked on the project at DNEG, counting artists and production support.
Deadpool 2 VFX Breakdown By Framestore
Framestore delivered 229 shots for the feature, leading work on the two main CG characters of the piece, Colossus and Juggernaut, as well as providing superhero VFX and animation work. The CG finale sequence is the crown jewel of the piece, with 120 shots of predominantly full CG.
Framestore was responsible for the shots featuring Colossus and Juggernaut. It included [spoilers]
The five main sequences for the third act: the big fight between Colossus, Juggernaut, Cable, Domino and Deadpool.
The post convoy crash: Juggernaut shredding Deadpool in two.
The breaking news ‘mutant incident’: Deadpool as a trainee member of X-Men.
Plus, of course, many smaller sequences starring Colossus and Juggernaut.
Deadpool fans will be pleased to see the character Juggernaut realised in the film. ‘We got to see one frame of the Juggernaut in the trailer’, says Stephane Nazé, VFX Supervisor, ‘And that was a deliberate choice, to get fans questioning what he was going to look like and how big a role he was going to play.’ Framestore Art Department worked on some initial concepts for the character which had been previously portrayed in several films and comics. A key challenge was the sense of scale. The Juggernaut is portrayed as a huge, unstoppable force, which impacted how the animation was treated. ‘We gave him a delayed speed-up into action, but once he’s in motion he’s surprisingly fast’, says Bernd Angerer, Animation Supervisor. ‘Working out the insane power of his punches in the final battle was a fun challenge.’
Colossus appeared throughout the first film, Deadpool, charming the audience with his kindness and compassion. He is able to transform his body tissue into an organic, steel-like substance that grants him superhuman strength. Framestore artists were given the chance to adapt him for the sequel. ‘With Colossus we wanted to keep the face from the first movie, but we changed everything else about him’, says Nazé. The team recreated him as fully CG with each line between his muscles splitting the geometry. A lot of time was taken to focus on the rigging and muscle deformation. ‘We used the gaps between the lines to compress the different volumes to help with the rigidity’, explains Nazé.
Animating a large, solid and rigid character was quite a challenge; ‘We experimented with everything: from more natural human behaviour through to very stiff, almost statuesque poses’, says Angerer. ‘Eventually we struck a good balance between him being a tall, tense authority that barely moves, in some moments, and a fierce, athletic fighter with a surprising range of motion and expressiveness in others.’
The team was able to flex its creative muscles in the build of a high-res digi double of Deadpool, who can regenerate damaged or destroyed areas of his cellular structure at a rate far greater than that of an ordinary human – a frustrating fact for the Juggernaut, who tries to kill Deadpool by tearing him in half. With the inside of Deadpool’s torso laid bare for all to see, the team had to use trial and error to get the look of the sequence right, with the assets and FX departments dealing with the entrails and gore, and Creature FX artists focusing on the cloth simulation of Deadpool’s clothing. ‘It had to be impactful and gross out the audience’, says Ben Magana, CG Supervisor, ‘But we didn’t want to push that too far. It was a case of making it look over-the-top, so that it didn’t seem too “real” to the audience, whilst still being very funny.’
Framestore had the daunting task of tackling the epic finale to the film: a huge battle between the hero characters. ‘Deadpool actually says “Big CG fight coming”’, says Magana. ‘We thought, OK, the audience expects something big now – we have to deliver it!’ The last act became a mostly CG sequence, with a tight timeframe for shot delivery. ‘It was quite a challenge, but a fun one’, says Nazé. ‘The team had so much passion and so many ideas for the sequence.’
A hospital was used as the environment in plates shot on set, but the decision was quickly made to build a CG environment to better interact with the huge amount of action taking place. The team got to work creating the main building, surrounded by trees, a swimming pool, gymnasium, and playground in CG. Digidoubles of characters, including Deadpool, Cable, Domino and Negasonic, were used at key moments. In addition, there is a large, sweeping fire raging; ‘we defined several stages of fire and smoke and then we created a 3D setup that we could populate into the shots and update easily’ says Romain Rico, Compositing Supervisor. ‘The client also wanted to feel the night was coming, so we had to play with the light, starting with a late afternoon mood and ending at night which was a big compositing and look-dev challenge.’
Deadpool 2 VFX Breakdown By Method studios
Method Studios create about 300 VFX shots, kicking off with a high-energy montage of various baddies getting their comeuppance.
“9 to 5” opening mercenary mission sequences where Deadpool travels from Hong Kong around the world tracking down baddies, a couple of Colossus sequences after he’s brought back to the X-Mansion and later in the movie when he’s hiding from Deadpool in his bedroom, the prison break sequence including the aftermath where the guys are tumbling down the mountain, the afterlife, and a few other miscellaneous shots throughout the movie.
Deadpool 2 VFX Breakdown By Weta Digital
Dan Macarin VFX Supervisor
Deadpool in a mask, outside of the James Bond opening credits and when he gets blown up, you are seeing our work in action.