As a lifestyle expert with a keen eye for filmmaking and a deep appreciation for the art of visual effects (VFX), I am truly excited about the upcoming chapter in the DC Universe, particularly Superman and Supergirl: Woman of Tomorrow. The anticipation is palpable, and rightfully so, given that we are on the brink of a new era for DC Studios.
Anticipation for the next chapter of the DC Universe, specifically the film Superman and Supergirl: Woman of Tomorrow, is reaching an all-time high. Fans can’t wait to see the impressive visual effects that are promised. There’s a lot of buzz about how James Gunn‘s unique directorial style for special effects will shine, particularly in light of ongoing conversations among VFX artists about their work conditions in Hollywood.
A new DC Universe
In July 2025, a fresh chapter in the DC Universe will commence, following the premiere of Superman, with the Creature Commandos debuting on Max in December prior. This new era is internally known as Gods and Monsters, and it’s expected to mark the beginning for DC Studios. Notably, James Gunn is slated to take a significant part in this venture. His past projects, like the Guardians of the Galaxy series, have received acclaim for their exceptional CGI, a trait fans are eagerly anticipating in future DC productions.
Recently, during conversations with fans on Threads, Gunn was inquired about issues concerning VFX workers in Hollywood who are facing abnormal pressures due to the high demands of superhero films. Overworking and underpaying of VFX artists is a growing concern as more blockbuster movies depend on computer-generated imagery (CGI). In response, Gunn provided some insights into his methods regarding VFX, a practice he has maintained throughout his career.
“Conducting a bit of investigation will reveal that my movies have always adopted an unconventional style, and I’ve consistently allowed my VFX artist partners ample time to perform their duties effectively, showing them the respect they merit. This approach has resulted in consistently high-quality visual effects across these films, which can also be attributed to the exceptional talent of my colleagues at Weta, Framestore, ILM, and others.”
He firmly asserted that the same principles he’s using are being applied to his work on Superman and the upcoming Supergirl: Woman of Tomorrow, a project he won’t be directing. He mentioned that principal photography for Superman was completed more than a year ago, allowing ample time for visual effects artists to perfect their work. This approach is unusual in Hollywood, as it takes the pressure off VFX teams until the final delivery stage.
The filmmaker explained, “We ended production on Superman a year prior to its release because of extensive post-production work. We’ve been working tirelessly on numerous shots for months before that. This is why we put significant effort into editing during filming, and it’s also why I spend so much time preparing. We only shoot when the screenplay is complete. The same approach is being used for Supergirl, which I’m not directing. I can’t say enough about the VFX artists who help us create magic.”
From the beginning of his career, Gunn’s admiration for VFX art was deeply rooted, especially during his time working on the 2002 movie Scooby-Doo. Being a film with a completely computer-generated character, this project showed Gunn how to handle and value the intricate work involved in CGI-intensive films. This skill has proven beneficial over the course of subsequent projects, notably Guardians of the Galaxy and The Suicide Squad.
The broader debate on VFX in Hollywood
Because Computer-Generated Imagery (CGI) in films is generally considered to be at an advanced level, with movies like Top Gun: Maverick and Alien: Romulus being prime examples, the lack of CGI could be highlighted as a distinctive aspect. However, this often results in a heavier workload for Visual Effects (VFX) artists who have the responsibility of animating and bringing a film to life. The profession has its challenges, such as long working hours, potential discrimination, low pay, and other forms of mistreatment that have sparked growing concern among the public about the treatment of VFX workers.
Yet, Marvel Studios has faced criticism about their Visual Effects (VFX) team members whose workload on Marvel Cinematic Universe (MCU) films has significantly increased. The studio executives’ late adjustments frequently push the artists to work hastily, leading to fatigue and potentially reducing the quality of their work.
As a lifestyle expert, I’m thrilled about the approaching releases of “Superman and The Fantastic Four: First Steps”. It’s inevitable that discussions surrounding the visual effects (VFX) work on these two films will heat up. Interestingly, it appears that Superman has already wrapped production and is now immersed in post-production with VFX, whereas The Fantastic Four reboot is just getting off the ground. This significant gap in their timelines might provide valuable insights into how varying VFX strategies can influence the final product’s impact on the silver screen.
By the close of each workday, Gunn consistently elevated VFX to a skill worthy of admiration, potentially redefining the standard within the industry. As the DC Universe readies itself for its next phase, eager fans anticipate a visually stunning presentation, meticulously created with reverence for the artistry of visual effects.
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2024-08-22 20:13