Spider-Man: Far From Home marked the end of Marvel’s phase 3 in spectacular style. While maybe not as epic in scope as the massive Avengers films that preceded it, the latest instalment of everyone’s favourite web-slinger required the services of around a dozen VFX facilities from around the globe, including Image Engine, Framestore, Industrial Light & Magic, Sony Pictures Imageworks, Luma Pictures, Rising Sun Pictures, Scanline VFX and Territory Studio.

A series of recent articles have highlighted how these different companies all managed to collaborate on such a massive project.

From AWN:

– Interview with Joern Grosshans, VFX Supervisor, Image Engine

To help visualize the overseas adventures of famous New Yorker Peter Parker on his European vacation in Marvel’s latest Spidey franchise hit, Spider-Man: Far From Home, Image Engine worked on 230 shots featuring CG drones and satellites, the Stark Jet, tulip fields and a Spider-Man suit-building machine.  Returning as production visual effects supervisor on the second solo MCU outing for the teenage superhero was Janek Sirrs (The Matrix), who connected with Image Engine via cineSync twice a week during post-production to keep abreast of the work.  “Janek always had the whole movie in mind as we were working on the bigger chunks and getting more into detail,” Image Engine visual effects Supervisor Joern Grosshans remarks.  “He has a lot of experience working with Marvel Studios and was able to guide us through the process.”

From Art of VFX:

– Interview with Theo Bialek, VFX Supervisor, Imageworks

How did you work with Overall VFX Supervisor Janek Sirrs?

Janek is a huge resource and partner on the film. Always candid he constantly had reference and advice at the ready as well as always encouraged suggestions toward the goal of improving the story and film. On set, he was present for all of the 1st Unit photography and on occasion also during 2nd Unit. During Post we met weekly and then twice weekly for cineSync remote reviews.

– Interview with Julian Foddy, VFX Supervisor, ILM

How was the collaboration with director Jon Watts and Overall VFX Supervisor Janek Sirrs?

Jon was great to work with on set, very easy to talk to and accommodating. I also had a great collaborative relationship with Janek; we’re quite similar characters and we seemed to be very much on the same page creatively most of the time. We also share that rather dry English sense of humour – many of our regular cineSync sessions often consisted of myself and Janek reminiscing about 1980s British TV shows, often to puzzled expressions from the younger members of the crew!