Spiderman : Far Frome Home - Animation Showreel

VIDEO DESCRIPTION:

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Studio: ILM London - 2019

Shot Breakdown:
Shot 01 : Keyframe
Shot 02 : Keyframe
Shot 03 : Keyframe
Shot 04 : Mocap edit on body, Keyframe Eyes
Shot 05 : Mocap edit on body, Keyframe Eyes
Shot 06 : Mocap edit on body, Keyframe Eyes
Shot 07 : (Spiderman only) Keyframe
Shot 08 : (Spiderman only) Mocap edit on body, Keyframe Eyes, Table
Shot 09 : (Spiderman only) Mocap edit on body, Keyframe Eyes, Table
Shot 10 : (Spiderman only) Keyframe standing up, Mocap edit on body shooting webs and exit, Keyframe Eyes, Table

Getting to animate Spiderman swinging through NYC was a dream come true. Having just come off Aladdin for 14 months and Ready Player One for 13 months before that, this a welcome break. A small team, clear sequence, and single character scene, all allowed time to focus and really enjoy the shots. I came onto this project in the last few weeks, but was still able to get a few really fun shots that I'm really proud of.

The opening reveal of the video screen selfie was actually a pretty tricky shot to pull off. Using multiple camera in the same scene and animation, I built a custom setup the made the phone the driving point of the rig/arm/head look at, and with a few offsets was able to do the pull back from the screen into a smooth transition. It was a small moment, but I think we executed it well.

As for him swinging and free falling while answering the text message, that bit wasn't in the previz, he was just swinging to camera, then away. But luckly my Supervisors was open to showing the clients an possible alternative and they went for it. Again, it sounds small, but getting to put a bit of your own personal take is always rewarding.

The shots of him on top of the lamp post watching the screen had a bit of back and forth. First they shot mocap, that we then seemed together to get the desired performance, then using that animatic, they shot another round of mocap with Tom Holland in the suit. So getting the data back was not only clean, but had so much of Tom's personality and detailing, was a really interesting way to work.

For the 'getting shot on the table' bit, again, it was Tom in the suit, that we punched up the hits a bit more and played with how he'd fall off the table. I ended up having to keyframe his get up, since a late edit change meant he needed to pop right up instead of stagger.

All and all, it was a great project with a great team.

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