James Gunn’s reboot of the DCU doesn’t begin till Superman arrives in 2025, however he stated the film is already accomplished filming to provide the groups concerned as a lot time as doable to excellent its completed look, and particularly the standard of its VFX. The director’s feedback had been in response to rising considerations about horrible particular results in blockbuster films as CGI artists get pushed to the breaking level.
“This is the reason we wrapped on Superman a 12 months earlier than launch and why they’ve been laborious at work on many photographs for months earlier than that,” Gunn posted on Threads on August 18. “This is the reason we begin heartily modifying through the shoot. It’s why I put together so vigorously and why we solely shoot completed screenplays. And Supergirl, which I’m not directing, is being dealt with the identical approach. I can’t reward the VFX artists that assist us create magic sufficient.”
The Guardians of the Galaxy and Suicide Squad author and director was tapped in 2022 by Warner Bros. to rebuild its big-screen DC universe, and Superman: Legacy, arriving July 11, 2025, is the primary undertaking in that endeavor. The primary picture launched from that film, which was “taken on set by Jess Miglio and was fully in-camera,” confirmed the titular hero suiting up in an residence whereas an enormous purple laser fired within the background. It raised all kinds of questions amongst some followers in regards to the look and artwork course of the film, and leaked images from July continued to sow skepticism.
The current frenzy for big-budget blockbusters in theaters and new content material from streaming platforms has led to an overreliance on inexperienced screens and post-production results that, along with stretching VFX homes too skinny, additionally simply look horrible. There was no higher proof of this than final 12 months’s The Flash, the final gasp of a pre-Gunn DCU, which regarded comically dangerous at instances, with some followers dunking on the results for wanting like they had been ripped from a mid-budget online game.
“For those who perform some research you’ll see my movies have at all times taken a special strategy and I’ve at all times given my VFX artist-collaborators time to do their jobs correctly, and the respect they deserve,” Gunn wrote over the weekend. “And the standard of the VFX in these movies is uniformly nice due to it (and since my buddies at Weta and Framestore and ILM and extra are amazingly proficient).”
