Just like an actor, a VFX house has a range and a type of work in which they excel. When we choose VFX houses, we think of it in terms of casting. How did you choose the various vendors and how did you split the work? By working with each house’s supervisors and teams, they would carry the shots on to completion. Brad Parker, Sandra Balej, and David Allen each took on a different VFX house. To help with that, we hired three additional in-house supervisors to manage the workload. With Loki there was a push every two weeks. With the features, you had one big push and then you were done.
The biggest change was the staggered delivery dates. The creative shorthand and pipeline had already been established which let us hit the ground running. We were fortunate to work with the many of same VFX houses that we work with on the features. When I started, Kate was great about downloading all these ideas and inviting me into the world of Loki.ĭid the episodic aspect of the show affect your work? each episode presented new worlds and characters that we needed to develop. From an Alligator Loki, to the Time Variance Authority, and an epic battle of the end of time…. Not only did Kate tell a great story, but her world building skills were second to none. Kate had an amazing vision for Loki – high concept set pieces surrounding a “grounded » relationship between two gods. How was the collaboration with Director Kate Herron? I remember the first time I saw each of the episodes, even though they were early in the editing process, I knew that the show would be special.
I came on to establish and refine looks for the over 2500 shots created for the series. I joined Loki at the start of post production. He’s back today to talk about his work on the series, Loki. Back in 2019, Dan DeLeeuw gave us a detailed explanation of the visual effects in Avengers: Endgame.
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