LIGHTNING IN A BOTTLE

British Cinematographer caught up with VFX supervisor Fabricio Baessa to find out how DNEG brought the comic book stylings of Black Adam to the screen.

How did you collaborate with the cinematographer on this project?

We joined the Black Adam team at a later stage and we were responsible for the main environment, the throne room, as well as an epic after- credits sequence.

Our main point of collaboration was ensuring everything integrated seamlessly into the main scans, which was quite a challenge initially because I wasn’t on set with the Director and DP. We were also very involved in the  planning process for the post-credits sequence, to ensure we got the correct material and needed camera angles  for all the Superman-related action.

Were there any particular pieces of instruction from the DP (or otherwise) that stood out to you when achieving the VFX style?

The main idea was to keep and enhance all the atmospheric effects and camera flares which we have on the main photography. With all the set extensions and FX we were producing, it posed a  challenge for our team. We were very meticulous about everything –  from recreating camera flares to truly matching the photography to precise and artistically driven smoke simulations for the on-set atmospherics.

How important were the Black Adam physical sets for you when applying VFX?

Our approach was to extend the physical sets instead of replacing them. They had a lot of details and we chose to keep all of them. It did create more work but the final result speaks for itself.

Did you consult the original comic book for visual inspiration?

The original comic book was always the main reference point for creative conversations and solutions and being a big superhero fan always helps with this. I think (and hope!) this comes through on many of the shots during the movie.

Were there any other visual inspirations for the project?

Yes. I also took inspiration from the most extreme skies and storms and used this to inform how the FX behave in a very similar context in the movie.

How did you approach the visual effects for Black Adam’s iconic lightning?

The initial approach was to replicate real-world lightning frame by frame. After this was achieved, we went to the comic books to cross check the scale and silhouette of it. These were the main steps to ensure these iconic FX look realistic and well-integrated.

Do you feel pressure when bringing something to life that is so integral and iconic to the character?

Oh yes, big time.  As a superhero fan since childhood, I put tremendous pressure on myself. I wanted it to look and feel as powerful as when I read all of the comic books. The visual effects on this movie helped bring the story and the characters to life and therefore it was extremely rewarding to see Black Adam on the big screen.

How did your approach differ from other DNEG projects you’ve worked on?

This project was special in a lot of ways. As DNEG joined the project a bit later, we had a really tight schedule to deliver the high quality visual effects DNEG is known for. We had to make certain strategic and creative decisions when brought onboard but also towards the end of the project that deviated from our regular way of working in order to deliver top notch visual effects without compromising the show’s delivery schedule.

What was the most difficult VFX sequence in this project?

That is an easy answer: it was the post-credits sequence with Dwayne “The Rock” Johnson and Henry Cavill. The first challenge was the extremely tight turnaround as it was a reshoot two months from the delivery. It involved a lot of detailed planning and creative direction  from our side. The second challenge was integrating everything in a way that is beautiful and real but also cinematic. And finally: to ensure all the holograms and FX behave with the atmospheric effects in a very artful way.

What is your favourite piece of VFX in this project?

I have two favourite moments. The first one was the iconic shot when Black Adam sits on the throne. Fans of the comic book will understand what an honour that was to work on and to see the final result on the big screen.

The second was the amazing moment when the drone comes down and we see Black Adam next to the stairs in the post-credits sequence. The sky looks beautiful and the atmosphere we added to the shot makes it look like a painting you can hang on your wall.

Is there anything you learnt from this project that you’ll take onto every project going forward?

Don’t be afraid to think outside the box and keep pushing until you reach the desired quality. It is very rewarding to see the end result you’re happy with!