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www.postmagazine.com 30 POST MAY/JUNE 2019 SUMMER MOVIES exploration to a critical part of the filmmaking." What were some of the notable scenes you worked on in Endgame? GR: "As the visualization team on the film, we worked on most of the movie. The scope was huge — we previs'ed more than 40 sequences (7,306 shots), sometimes with boards as a starting point, but frequently starting from the script pages or kickoff discussions with the filmmakers. "There were many action scenes that had a lot of storytelling and important character scenes to visu- alize. These included the Yurt Fight, when the ship leaves Earth and arrives on Thanos' new home plan- et, which was previsualized and then had extensive postvis to add set extensions and CG characters, including Thanos. "Another key storytelling scene was the Quantum Test, when Cap, Natasha and Hulk try out the quantum van on Scott. Here, the previs looked at fun and comedic ways to play the scene without breaking from the film's style overall. For scenes in the Quantum Tunnel, artists visualized designs for the dimensions the heroes would travel through and how the suits would help them navigate. "Hawkeye and Black Widow on Vormir is an- other notable scene. The filmmakers felt it was crucial to visualize this emotional scene, as it was so pivotal, and the previs helped prove that the dramatic action of them going over the edge add- ed to the major character moment that this scene needed to be. "Another big moment of impact, literally, is when Thanos arrives on Earth. Coming on the heels of an uplifting sequence, the sheer destruction needed to be shocking and sudden. The mandate for previs was to help develop a beat that would quickly rip that hope away. "The most rewarding and challenging sequence was the more than 30-minute Final Battle, which saw thousands of characters fighting for the gaunt- let. We worked on each aspect of the scene — the struggle down below with Hulk, Rocket and Ant- Man, the three-on-one battle against Thanos, the fan-favorite reveal of the Avengers' army and the entire ensuing fight. Our artists collaborated over multiple months to help develop iconic battle mo- ments, character reunions and dramatic story beats through the scene." How creative can you get in bringing out ideas in previs? GR: "An amazing thing about working on a Marvel project is the level of creativity that is instilled in everyone to bring out the very best idea. We would start with anything from boards to director discus- sions to scripts, beatsheets and brainstorms. "For the three-on-one fight between Thanos, Iron Man, Captain and Thor in Endgame, I tasked our artists to visualize the most exciting team-up and power moves they could think of, all of which would of course inevitably fail against the Mad Titan! The scene ultimately builds up to Cap getting Thor's hammer. We knew it was to be a big moment that needed to be earned theatrically. The sequence was visualized in a way that the audience would feel the end is near for our big three Avengers — that we had taken them to a low point, so the moment where Cap gets the hammer becomes that much more impactful. The team then brainstormed various fight moves for Captain to perform using both shield and hammer. Artists were asked to come up with the most exciting thing they would like to see Captain do with those two weapons. Once we had several exciting moments, we put the previs together using the most goosebump-inducing of the fight moves." Is there a core 'essence' to working on a Marvel movie that you experienced? GR: "With a Marvel motion picture, character and story are king. No matter how exciting or epic an action scene may be, it's not likely to survive if it doesn't add to character or story. This was in- grained into our workflow and with each scene we were helping to develop, we ensured that it added to those two narratives." SJ: "Story is key and that's something I think re- ally drives the ethos of the filmmaking. Also, I think the idea that a good idea can come from anyone is one of the most exciting parts of the Marvel culture. There's a genuine collaborative nature and it encourages everyone to engage with the source material and see how far it can go." What was it like getting to that moment in Endgame, when the characters all finally come together and 'assemble'? GR: "We visualized the epic moment when the lost heroes return through the portals in both previs and in postvis with the shot plates. We knew this would be one of the most important and memorable scenes, so we really focused on brainstorming and laying out the action to serve the vision. In the end, we presented the filmmakers with two takes on the 'arrival' — one more emotional, with a slower, more dramatic pace, and one with high energy, where the heroes arrive mid charge. The final outcome is a blend of the two versions, so you get both the emotional moment and the energy of the charge and clash. "After working on several Marvel franchises, it was satisfying being able to have all the charac- ters that we had been working with for so long in one massive battle. It was a once-in-a-lifetime moment, really." Captain Marvel lights up The Third Floor worked on 18 Marvel films.