Peter Parker has been erased from the world, but in Spider-Man: Brand New Day, the strain of being Spider-Man full-time is transforming him into something new. For our latest VFXShow, we discuss the film, its ambitious action, and the visual effects behind Spider-Man’s latest blockbuster adventure.
Warning: this podcast and article contain major spoilers for Spider-Man: Brand New Day.
Four years after Doctor Strange’s spell made everyone forget that Peter Parker ever existed, New York still knows and celebrates Spider-Man,…but MJ, Ned and everyone Peter loves have moved on without him. He has responded by disappearing almost completely into the mask, dedicating himself to protecting the city while quietly visiting Aunt May’s grave.
That emotional isolation drives Spider-Man: Brand New Day, the fourth MCU Spider-Man film starring Tom Holland and the 38th feature in the Marvel Cinematic Universe. Directed by Destin Daniel Cretton and written by Chris McKenna and Erik Sommers, the film also stars Zendaya, Sadie Sink, Jacob Batalon, Jon Bernthal, Florence Pugh, Tramell Tillman, Michael Mando and Mark Ruffalo.
The film begins in relatively grounded, street-level territory. Spider-Man has spent several years fighting criminals ranging from Mac Gargan to the Hand, while developing a working relationship with police detective Jean DeWolff. That changes when Frank Castle’s pursuit of an armoured vehicle ends with a tank crashing into a Department of Damage Control prison.
The sequence establishes the film’s approach to action: practical vehicles, real locations, stunt performers, and physical destruction provide the foundation, while visual effects extend the environment, remove rigging, augment impacts, and carry Spider-Man beyond what can be photographed safely. It is a hybrid methodology that runs through the film.
Tom Holland has spoken about the production’s renewed emphasis on a real suit and practical stunt work. Of course, ‘practical’ does not mean an absence of VFX. A convincing Spider-Man shot often moves continuously between Holland, a stunt performer and a fully digital double, sometimes several times within a single action.
The real photography supplies weight, contact and the imperfections of physical movement. Animation and comp then allow Spider-Man to accelerate, twist and land with the heightened athleticism audiences expect. The success of the illusion lies in making those transitions invisible.
But did the panel like this hybrida approach? And did Mike once again get lost in the physics of gravity being a constant – no matter the mass, so …
Join us for VFXShow 308: our friendly neighbourhood disagreement. This week, the three supervillains on the panel are:
Matt ‘4th Wall’ Wallin @mattwallin www.mattwallin.com
He doesn’t break it—he traps audiences behind it.
Follow Matt on Mastodon: @[email protected]. and letterboxd.com/mattwallin/
Jason The Rough-Cut Diamond @jasondiamond www.thediamondbros.com
Ruthlessly edits heroes out of their own movies.
Evil Doctor See More. @mikeseymour www.fxguide.com. + @mikeseymour
Special thanks to Jim Shen for the editing & production of the show.
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