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We worked closely with the art department which had done extensive research and also relied on Gene Luen Yang, the writer of the book with the same name, because he has done extensive research.” Human Engine ran a portable scanning station on set to assist with the construction of digital doubles. “In Episode 101, we LiDAR-scanned our sets knowing that we had to do extensive set extensions. “We took all of the tools in the toolbox and deployed them whenever we saw fit,” Yang explains. The methodology was devised on a case-by-case basis. I will always have a love of getting as much in-camera as possible knowing even if most of it doesn’t appear in the final frame that it’s going to be the coolest reference we’re going to have.” I started out as a special effects artist.

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There were so many moving parts, figuring out how to digitally duplicate something that we had practically. In Episode 108, we have this intense battle in the sky that we had to somehow make believable. The first and last episodes were always planned to be visual effects heavy. That was mainly shot on bluescreen, and we definitely used all of the time on the clock for that one to fine tune the lighting and matte painting. The effects that went through the most iterations were probably for the Heaven episode. “By cut five or six we were able to see some version of the effect already built in. Most of the visual effects were temped by Pixelloid working alongside DigitalFilm Tree, “not necessarily to the degree of the final look that we ultimately settled on, but providing us with a stepping stone to keep improving upon,” Yang notes. It’s so fast-moving you can’t look away,” Kang states. “We didn’t do as many as 72 transformations, but perhaps for later seasons! Knock on wood! I grew up with Hong Kong cinema, so I love the types of choreography that you don’t see too much nowadays that have just enough surrealism and magic that ties it together. That was one of the first sequences that we shot.” The transformation shots might be described as kung fun magic. It was not only a fun sequence but set the tone for the rest of the season. That sequence, in particular, took the most days, shot count and budget. I hope that people will love the chase scene as much as we loved putting it together. “That helped so many departments to visualize what do we need to do and where the handoff was. “He and his team shot at their practice ring on iPhones and mobile phones to give us a sense of the camera movement and how one scene stitched with another,” Yang explains. For the opening chase in Episode 101 where a multitude of transformations occur, previs was produced by DigitalFilm Tree that was informed by Stunt Coordinator Peng Zheng.