Scott: He steps forward and throws a car, he has to transfer that weight, and another arm has to go land on the ground to hold him up as he's throwing the car forward. The way he handled objects also needed careful consideration. Narrator: This meant establishing clear physics about what he could and couldn't do.įor example, he always had at least two hands on the ground supporting him for balance, even as he lifted two cars at once. Scott: Jon Watts, the director, really wants to have his movements make sense and to have weight, so you don't want him to feel light or any of the things that he's interacting with to feel light. This got even trickier for the VFX team as the sequence progressed and the character interacted more and more with his surroundings. When the arms brought him down to the ground, they used a moving platform that could be lowered and operated like a Technocrane. Other times he was strapped to a tuning fork, where crew members could steer and turn him from behind, as seen here, when he pulled himself up from under the bridge. Sometimes the crew could use cables to lift him up, letting him move his real legs around more freely, but it wasn't very comfortable. The best visual effects references depended on how high his body was above the ground, which varied throughout. While the actor now had more flexibility to move around, Digital Domain would have to know how to place his arms in the shot, especially when they held him up like this. Unlike in 2004's "Spider-Man 2," Alfred Molina did not wear a pair of puppeteered claws on set. Narrator: Where Doc Ock was simply suspended in the air, were equally challenging. Then he placed the car on top of it and attached two cables to the bottom center of the car, pulling it through while it split in half. Narrator: First, Dan built a steel platform with a hole in the middle. To really sell the strength of these CGI arms, Dan devised way to crush the cars practically into what the crew called "taco cars."ĭan Sudick: When I saw the previs, I thought, "Wow, wouldn't it be great if we could just pull down the center of the car very hard and just let the car fold up by itself?" His team collaborated with special effects supervisor Dan Sudick to find the right mix of practical and digital to create "No Way Home"'s action-packed bridge fight, like when Doc Octopus first emerges with his mechanical arms. Narrator: That's visual effects supervisor Scott Edelstein. Account icon An icon in the shape of a person's head and shoulders.
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