![]() We did a lot of tests shooting with various rigs then using 3D tracking to extrapolate the cameras. In order to make everything feel more visceral and realistic we used a handheld camera. Next, we experimented with the camera animation and figured out how we wanted to build the moves. As we moved into animation, we added storyboard frames using just sketches until we had the right sequence. We worked up some transitions to connect characters, which Joss and Marvel really liked, so we added a few more. We worked for a couple of weeks to flesh out the rest of the sequence and the in-between frames and by January we had a full sequence boarded. Of course, the first set of boards from the pitch had to be reworked to remove some elements and add others. We didn't have to explore variations or other options – we were able to get right into pre-production. Well, it was great because Joss saw the initial pitch boards and knew that "Battle Scars" was what he wanted. Once you had the concept, what were your first steps? We were striving not to just make this a visual effects sequence, but to engage and capture the audience even after the film. The one other concept that went forward was our Tesseract concept, which became the driving force behind the logo treatments at the beginning of the film. Once we were awarded the job, we went right into production on the "Battle Scars" concept. Ultimately, though it wasn't the top concept, I think it helped sell some of our ideas of pacing, movement, and the portrayal of post-battle destruction. At the time, we thought the New York concept, with its motion test, would be the frontrunner. Were there any other concepts for the sequence that made it to an early stage of pre-production? Storyboards, animatics, etc.?įor the first pitch, we had seven different concepts – all had boards and a few had motion tests. The idea was to approach it almost like a documentary filmmaker examining the damage and cost of war. We finally agreed it shouldn’t be about the Helicarrier, but simply about the heroes and what they went through – the Helicarrier was just a location. It really took shape in a brainstorm I had with Chris and our associate creative director Mike Sausa. The biggest question was whether or not the sequence should be "post-battle." There were also a lot of things we still weren't clear on since we hadn't seen the entire film! Like whether or not all the heroes' suits and weapons were in one location like a locker room. Then we needed to figure out the details. So Chris began working, the frames looked great, and it was starting to take shape. I wanted something that dropped us into the high-tech world of S.H.I.E.L.D and stepped back from the actual characters so we could get a feel for them through their areas in the flying S.H.I.E.L.D. Originally, we were going with an abstract fly-through of the Helicarrier where we would come across some of the heroes’ items, but it wasn't post-battle and it was just as much about the Helicarrier as the characters – which is how I originally pitched it to our concept artist, Chris Sanchez. The chosen concept actually went through a few iterations before it was ready to show. We also knew that Joss really wanted to focus on core themes from the film like "real stakes" and "group chemistry."Īs we honed in on our primary concepts, we had about seven that covered Joss' key themes while incorporating others, from the Tesseract to New York City. They wanted a photorealistic look, so from the start we didn't explore a lot of graphic ideas. When we first sat down to brainstorm, we got great guidance from Marvel on what they were looking for which allowed us to focus on specific areas. ![]() ![]() Where did the original concept for the sequence come from? In the main-on-end titles to Joss Whedon's master stroke of a film, Method Design subtly recounts the aftermath of the dawn of The Avengers.Ī discussion with Creative Director STEVE VIOLA of Method Design. It was only through battle that these disparate champions could be forged, kicking and screaming, into the motliest of crews and as we tumble and glide along tarnished shields, torn fabric, and broken glass, the heroes' damaged armor tells the story. Thor, Black Widow, Hawkeye, Iron Man, The Hulk, and Cap – an assembly of Earth’s mightiest heroes.
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