Michael Lasker
@mlasker
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Creative Director, CG Features | Visual Effects Supervisor: "Spider-Man: Across The Spider-Verse" @imageworksvfx
Los Angeles, CA
Joined April 2009
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Before the big reveal, we added the Earth-42 style of inking and splatter to these shots so the world felt different, but not so much that it would be obvious to the viewer. One thing you'll notice is that those heavier ink lines are added to Rio, but not Miles since it's her…
Earth 42 is dark, with criminality rampant. It’s look has a noir aesthetic where colors recede into blocked up shadows and the inking style is heavy and gritty, obliterating light.
#AcrossTheSpiderVerse
#SpiderManAcrossTheSpiderVerse
#SpiderMan
#SpiderVerse
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The Vulture was a complex, fully rigged character. Our inking team created multiple layers of lines, many hand drawn & interpolated, married with parchment paper, flip book effects, paper edges & incredible lookdev!
#AcrossTheSpiderVerse
#SpiderManAcrossTheSpiderVerse
#SpiderMan
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One of our most complex and challenging characters in Spider-verse was Olivia Octavius. Her elaborate hair groom was a beautiful achievement by our CFX team, as well as the multi-layered, simulated cloth that she wore.
#SpiderVerse
#IntoTheSpiderVerse
#Imageworksvfx
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I'm rarely speechless but this completely blew my mind and I COULDN'T WAIT for people to see it! Many artists collaborated to create this, but I'd like to highlight Craig Feifarek's brilliance in lighting and comp, Nideep Varghese animating, and Arthur Muller, Srdjan Milosevic &…
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In the sequence where Gwen returns home, we pushed both the water color painting & the graphic style of her world, colliding them together to drive home the emotion of the scene
#GwenStacy
#AcrossTheSpiderVerse
#SpiderManAcrosstheSpiderVerse
#Spiderman
#SPIDERVERSE
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Our FX team worked tirelessly on this film; smoke, fire, explosions, ink lines, spots, dark matter, chaos!!! And that’s not the half of it!
#AcrossTheSpiderverse
#SpiderManAcrossTheSpiderVerse
#SpiderMan
#SpiderVerse
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So proud of our texture paint team for literally painting miles and miles of roads and sidewalks! We studied all types of areas in New York, from residential neighborhoods to streets and avenues in Manhattan in order to be accurate!
#imageworksvfx
#SpiderVerse
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Where to begin with Margo…one of our most complex characters, Spider-Byte has so much going on she required full meetings for the entire team to figure out how we’d create her! I’ll dive in…
#AcrossTheSpiderVerse
#SpiderManAcrossTheSpiderVerse
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Hobie Brown rarely looks the same in any two shots, and almost every time you see him he is a new rendition of colors, paper edges and textures. This particular shot was animated by Saul Latorre Sebastian and lit/comped by Joan Pons Bueno
#AcrossTheSpiderVerse
#Spiderpunk
…
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Every shot has a story behind it. So many talented artists work together and collaborate everyday to bring those stories to life. Animation is cinema.
#SpiderManAcrossTheSpiderVerse
#SpiderMan
#Spiderman2099
#SpiderVerse
#animation
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A big challenge in the 2099 style was simplifying our look down to paper and line work in distances from cam. We treated each shot like a literal painting built up from the canvas adding shape & motion lines and colored paint strokes based on lighting
#AcrossTheSpiderVerse
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Wrap parties are wrapped, lights out on the most rewarding and challenging project of my career. Best crew EVER.
#AcrossTheSpiderVerse
#SpiderManAcrossTheSpiderVerse
#SpiderMan
#SpiderVerse
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Miguel’s visual style starts with brush strokes that repaint and deform, then heavily inked form shading, facial lines that redraw for structure & performance, solarized shadow color, and outer silhouette lines. Then there’s his suit fx..
#AcrossTheSpiderVerse
#SpiderMan2099
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Miles’ new spider suit contains detail upgrades from the first film including layers of kevlar separated by modeled seams as well as a higher quality fiber materials. We upgraded our lighting tech to achieve a more graphic comic style.
#AcrossTheSpiderVerse
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Take chances. Push limits. Don’t be afraid to fail.
#animation
#AcrossTheSpiderVerse
#SpiderManAcrossTheSpiderVerse
#MitchellsVsMachines
#spiderman
#SpiderVerse
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These shots from our first teaser trailer were lit and composited by my original core lookdev team, and were instrumental in learning how to portray a living city in our comic style
#SpiderVerse
#imageworksvfx
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For this sequence, we rendered two different apartment sets that were overlayed. One was from the past before it was destroyed by The Spot, one was from the present that showed the aftermath. FX created dynamic wire frame simulations to reveal the flashback in holographic form.…
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Earth 42 is dark, with criminality rampant. It’s look has a noir aesthetic where colors recede into blocked up shadows and the inking style is heavy and gritty, obliterating light.
#AcrossTheSpiderVerse
#SpiderManAcrossTheSpiderVerse
#SpiderMan
#SpiderVerse
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Spider-verse had by far the most shots that we've ever created in an animated film, mostly due to the shear amount of inserts. One shot in the film actually contained 22 sub-shots. The total shot count for the film approached 3000!
#intothespiderverse
#Spiderverse
#imageworksvfx
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Every character in Spider-verse was fully lit and rendered together so they could all live in the same environment under the same lights. Individual treatments and styles were driven by material shaders and newly written tools.
#Spiderverse
#imageworksvfx
#IntoTheSpiderVerse
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Our method of creating Miles' invisibility was one of the most challenging effects to figure out in the film. Combining shaders, point cloud simulation & comp, we explored a look that maintained our visual language using screen tones & outlines.
#SpiderVerse
#IntoTheSpiderVerse
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Spider Noir was probably our most stylized character. He pushed our techniques to the max, illustrating him only in stark black & white with transitions of screen tones and graphic reflective goggles. Any shot he was in was and extra challenge!
#SpiderVerse
#IntoTheSpiderVerse
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Doc Ock was probably our most complex character. Her tentacles had a high tech gel material with scattering & translucency as well as wires and internal shapes created in FX. Her clothing had layers of translucence as well as metal knobs & wires.
#SpiderVerse
#IntoTheSpiderVerse
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This incredible painting by Peter Chan of Gwen in her bedroom was invaluable and was one of our biggest inspirations for developing the style, techniques and artistry of Earth-65
#AcrossTheSpiderVerse
#SpiderManAcrossTheSpiderVerse
#SpiderMan
#SpiderGwen
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Some of the biggest challenges in
#AcrossTheSpiderVerse
were creating worlds & characters with vastly different visual styles yet allowing them to exist and interact with each other seamlessly. As an artist it really was a dream project!
#SpiderManAcrossTheSpiderVerse
#Spiderman
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Pavitr Prabhakar and his city of Mumbattan have a visual style inspired by Indrajal comics. We created specific line work, offset misprinting and played with simplifying the high density world into layered colors
#AcrossTheSpiderverse
#SpiderManAcrossTheSpiderVerse
#Spiderman
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Finally saw RRR, and all I can say is holy @#$%&! This film is insane in the best possible way, in every way. Directed by S.S. Rajamouli
#RRRMovie
#RRRGoesGlobal
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This intense moment between Gwen & Miguel was beautifully lit by Alex Petrov. You can see the “solarization” of shadows as they block into solid colors as well as detailed line work drawn in the background, both cues of the 2099 visual style.
#AcrossTheSpiderverse
#SpiderGwen
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Hundreds of spider-people with hundreds of visual styles! We stretched & bent our tools to create as many looks as we could. We also built this animating web armor for one shot!
#AcrossTheSpiderVerse
#SpiderManAcrossTheSpiderVerse
#Spiderman
#SpiderVerse
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While we rendered fully CG buildings in the foreground and mid ground, we used 2.5D matte paintings for our background cityscapes. Our team combined visual development art and Lookdev renders to project onto the far background 3d geometry.
#SpiderVerse
#IntoTheSpiderVerse
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“Under the Clock Tower”
#AcrossTheSpiderVerse
#SpiderManAcrossTheSpiderVerse
#Spiderman
#MilesMorales
#spidergwen
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We wanted these tarps to feel like a river rippling in the wind, so our cfx team created multiple speed deformations we could overlay together for a natural, watery feel
#AcrossTheSpiderVerse
#SpiderManAcrossTheSpiderVerse
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It’s funny, I supervised this shot for the very first teaser for ITSV, and we really had no idea it would become the iconic shot it did…sometimes you’re just too close to the work haha
#SpiderVerse
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Loving the love this shot is getting, it always had a magical feel and was quintessential spider-verse. Animated by Pedro Salazar de la Llave and lit by Andrea Roncancio
#AcrossTheSpiderVerse
#SpiderManAcrosstheSpiderVerse
#spidergwen
#SpiderMan
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This great shot of Miguel, lit by Barry Andres, shows off innovative shader work from Craig Feifarek who developed the inky etched form shadow styling that you see on Miguel and also Ben Reilly. It reacts to light and form which is the key to success.
#acrossspiderverse
…
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So many artists came together to make this moment happen between Gwen and Miles. I'd like to highlight Terry Park and his modeling team, and Dani Devereux and her Matte paint team for seamlessly marrying the city midground and background, and painting these beautiful skies.…
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What’s extra cool about the smoke in this shot is how Gwen’s motion through it creates a swirling effect as it reacts to her, almost like a portal that propels her into the Guggenheim
#AcrossTheSpiderVerse
#SpiderGwen
#Spiderman
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I adore these two shots of Gwen & Miles! Gwen was animated by Aaran Baker and lit by Erini Fahim. Miles was animated by Martin Amoros and lit by Iris Lee. Well done!
#spiderman
#AcrossTheSpiderVerse
#SpiderGwen
#spidermanacrossthespiderverse
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This menacing shot of Miguel on the rooftop was lit by Arnon Intorn. Miguel’s 2099 render style involves brush stroked lighting, outlines on his silhouette & etched inking in his shading
#AcrossTheSpiderVerse
#SpiderManAcrossTheSpiderVerse
#SpiderMan2099
#SpiderMan
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Peni Parker was very unique in that she was probably the biggest departure from how a typical CG character shades. Every aspect was a challenge; flat mouth shapes, anime skin surfacing, simplified hair treatment...she was definitely a project!
#SpiderVerse
#IntoTheSpiderVerse
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Cool fact: For these 2 shots, FX created an intricate floating laser web that was only visible when the giant spider from the Go-Home Machine stepped on it. This allowed it to traverse the open chasm in the Teleporter Room in order to grab Gwen.
#AcrossTheSpiderVerse
…
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Spider-Punk, Scene Stealer, Hobie Brown breaks all the broken rules: multiple frame rates, color & texture swaps mid performance, ink lines that redraw all over the place, ripped paper edges that jitter based on his motion, absolute insanity
#AcrossTheSpiderVerse
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One of my favorite shots of Gwen across both films, beautifully lit by Geri Smith. Loved her storyline so much
#SpiderManAcrossTheSpiderVerse
#AcrossTheSpiderverse
#spidergwen
#SpiderMan
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Grass, trees, leaves...we developed a technique to simplify high freq detail into swathes of brushed paint using a tool that we first built on
#SpiderVerse
. This allowed us to turn fields of grass and forests into painterly stylized textures.
#TheMitchellsVsTheMachines
#Netflix
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Crazy day!!!!! Thank you to Everyone who went out AND is going out to see our film! Love reading all the responses today, it is truly surreal!
#AcrossTheSpiderVerse
#SpiderManAcrossTheSpiderVerse
#Spiderman
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Love how this shot of Ben Reilly turned out; night time, back lit with rain fx pouring down, so dramatic! Lit by Fernanda Ortiz Rojo, animated by Kristin Mueller with next level lookdev by Craig Feifarek and James Carson
#SpiderManAcrossTheSpiderVerse
#spiderverse
#SpiderMan
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Graphic reflections and abstract interiors were two major components of our stylized look. We wrote shaders that allowed us to art direct reflective shapes, and layer brush patterns with depth inside thousands of windows.
#spiderverse
#imageworksvfx
#intothespiderverse
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Beyond excited to share the incredible work being done by our team at Sony Animation and Imageworks!!
#acrossthespiderverse
#animation
#SpiderManAcrossTheSpiderVerse
#SpiderVerse
#SpiderMan
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When years and years of work are finally released for all to see, I tell ya, the feelings and emotions of that moment remind me how much I love my job.
#SpiderManAcrossTheSpiderVerse
#SpiderMan
#AcrossTheSpiderVerse
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To achieve the look of Gwen's universe, Bret St. Claire, our Lookdev architect, along with Marc-Andre Davignon in Development, wrote a special rendering and compositing tool to give her world a hyper real illustrated quality.
#SpiderVerse
#Imageworksvfx
#intothespiderverse
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Kingpin's design was very unique in that most of his form had zero detail, except for his skin and shirt. We created graphic rims to shape his lighting, and applied colored outlines to his jacket lapel based on light direction.
#SpiderVerse
#intothespiderverse
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So we began our process referencing amazing artwork including these killer designs from
@kristaferanka
;they showed us her complex structure of metal plating, tech lines, pixelized hair and inner electric skeleton, and that’s only scratching the surface!
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These shots during Miguel's "slow" intro in his lab show off so much of the Earth-928 visual style which includes marker, gouache and sketch lines. You can see these visual cues in the room and on Miguel, as well as his shaded inking style.
#AcrossTheSpiderVerse
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Fun Spider-verse fact: All of the graffiti painted on the subway tunnel walls floats off the surface to create a parallax effect when the camera moves. Next time you go see the film, see if you notice! 😁
#SpiderVerse
#IntoTheSpiderVerse
#imageworksvfx
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Visual storytelling was pushed to the max during Gwen’s confrontation with her Dad. Sony Animation and Imageworks artists redefined collaboration to bring this moment to life. I’m so proud of what they achieved!
#AcrossTheSpiderVerse
#SpiderManAcrossTheSpiderVerse
#Spiderman
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Ink lines were a major component of the look of our characters. There were lines built into the rigs, lines created by animation, as well as FX lines that were taught to predict placement using machine learning.
#Spiderverse
#IntoTheSpiderVerse
#Imageworksvfx
#SundayThoughts
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This insane sequence hopped between 4 different dimensions so I assigned 4 lighting teams to take it on, each team specializing in a world look. Below are 3 consecutive shots!
#AcrossTheSpiderVerse
#SpiderMan
#SpiderVerse
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Mumbattan is a massive city with layers and layers of buildings deep in the river canyons. Hats off to our modeling team led by Terry Park for building this infinite metropolis
#AcrossTheSpiderVerse
#SpiderManAcrossTheSpiderVerse
#SpiderMan
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All of Vultures weapons are designed to look like they’d exist in Da Vinci’s time, & they all have his parchment & lined visual style, including the flames and liquid. Also, hats off to our 2dfx team for all the crazy in this shot!
#AcrossTheSpiderVerse
#SpiderMan2099
#Spiderman
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This wild shot through the Mumbattan marketplace was lit by Pepe Orozco, and we layered cool outdoor light onto dark burgundy shadows, all the while making sure we could track the character performance
#AcrossTheSpiderVerse
#SpiderManAcrossTheSpiderVerse
#Spiderman
#SpiderVerse
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“Is Spider-Man grounded?” One of our first approved shots of the film & our first of Gwen, this brought us back to the Earth-1610 visual style as well as finalized the look of her upgraded suit
#spidergwen
#AcrossTheSpiderVerse
#SpiderManAcrossTheSpiderVerse
#Spiderman
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I absolutely love this shot, incredibly animated, lit and rendered by the amazing Preston Mutanga. It looks and plays so well and has one of my favorite lines of dialogue from Miguel! Shout out to compositor Oded Granot for adding in mini-Miguel and the watch FX!…
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Punk is a character brought to life by extreme collaboration between animation, visual development, lighting and motion graphics teams!
#SpiderManAcrossTheSpiderVerse
#AcrossTheSpiderVerse
#SpiderMan
#SpiderVerse
#spiderpunk
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Two big shots that helped set the stage for the battle: The first, comped by Rowan Young, helped solidify our 2d/3d explosions. The other, comped by Jared Brient, was huge for the graphic lighting style in the Gugg
#AcrossTheSpiderVerse
#SpiderManAcrossTheSpiderVerse
#SpiderMan
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Views from high on the Clock Tower were made possible by our incredible modeling & matte painting teams. Shafts of light from the setting sun cut through constructed blocks of Brooklyn neighborhoods that gave way to Manhattan beyond. Amazing team work.
#AcrossTheSpiderVerse
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This was the first film shot released to the public. One of my favorites…Gwen and Miguel’s insane moment when he arrives! Loved this comp by Rowan Young
#SpiderManAcrossTheSpiderVerse
#AcrossTheSpiderVerse
#SpiderMan
#spidergwen
#SpiderMan2099
#MIGUELOHARA
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This image of Miguel, lit and Lookdev'd by Kieron Lo, was the first time we really saw him with all of his visual styling put together in a pose. You can see his brushed lighting and shading, his line work and the material specular properties of his suit.
#AcrossTheSpiderVerse
…
This great shot of Miguel, lit by Barry Andres, shows off innovative shader work from Craig Feifarek who developed the inky etched form shadow styling that you see on Miguel and also Ben Reilly. It reacts to light and form which is the key to success.
#acrossspiderverse
…
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The Spidey-Sense effect combines swiggles from animation which are augmented in motion graphics, with crazy amounts of offsetting, halftones and cmyk aberration. Sometimes it’s subtle, other times it cranked!
#AcrossTheSpiderVerse
#SpiderManAcrossTheSpiderVerse
#spiderman
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Subways in the Spider-Verse…they weave through the city sewing it together like fabric, cutting iconic graphic shapes that hold thousands of stories to tell
#AcrossTheSpiderVerse
#SpiderManAcrossTheSpiderVerse
#SpiderMan
#SpiderVerse
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In this incredible slow-mo shot, one of my favorite moments in the film, I asked the fx team to make sure the rain fell fast enough that we could read its motion as the cam pulled back; we didn’t want to feel like time was frozen
#AcrossTheSpiderVerse
#SpiderMan
#SpiderVerse
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Trees are typically one of the biggest indicators of style in animated films; referencing awesome paintings like these by
@okeefe_artist
, we found a look that we could populate to an entire forest
#Spiderverse
#imageworksvfx
#IntoTheSpiderVerse
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Yes! This test was of major importance to how we started to develop Punk, amazing work Spencer!
#AcrossTheSpiderVerse
#SpiderManAcrossTheSpiderVerse
I think this early Spider-Punk test ended up being my main contribution to
#AcrossTheSpiderVerse
I was concerned that having him change looks so often would be too disorienting for an entire film, but the directors told me they wanted to do it anyway.
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Portals get mocked up in anim, then rebuilt by FX. Beyond the hex tunnel, there are outer hexes, laser lines, animating numbers corresponding to the target world, and a de-res effect on the characters as they pass through!
#AcrossTheSpiderVerse
#SpiderManAcrossTheSpiderVerse
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These two shots in the underbelly of Nueva York show off our 2099 visual style of dry brush, marker & multi-layered line work. The first shot was lit by Hiu Kwan Lam, the second by Jason Koh
#AcrossTheSpiderVerse
#SpiderManAcrossTheSpiderVerse
#SpiderVerse
#SpiderMan
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We pushed the render style into overdrive to heighten this moment; you can see the crazy amount of offsetting and color saturation pumped into it
#AcrossTheSpiderVerse
#SpiderMan
#SpiderVerse
#MilesMorales
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How we layer atmosphere & light in depth is so important, especially when we stylize shots and integrate elements like rain and glow into city expanses. Conrad Olson did a masterful job lighting the top shot, Vincent Mak killed it on the bottom shot.…
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I just can’t say enough about our crew on this film…they are the most ridiculously talented and hard working artists I have ever seen and they make everyday extraordinary
#SpiderManAcrossTheSpiderVerse
#spidergwen
#SpiderMan
#SpiderVerse
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These were two of our first shots where we created a punk portal and it’s effect on characters & environment. We made sure to maintain 2099 portal logic but with a punk bootleg styling
#AcrossTheSpiderVerse
#SpiderManAcrossTheSpiderVerse
#SpiderMan
#SpiderVerse
#spidergwen
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After we built Aunt May's house inside and out, including rooms that were never on film, the FX team did an incredible job destroying it with amazing continuity that lasted over two sequences! Walls, windows, furniture, all completely annihilated!
#SpiderVerse
#IntoTheSpiderVerse
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This subway station served as our development sandbox. We used it to experiment with stylized depth of field and motion blur techniques, as well as glows, lens flares and general lighting aesthetics.
#SpiderVerse
#imageworksvfx
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Mumbattan is inspired by the vibrant culture of India, and it’s visual style is based off Indrajal comics from the 1970s. I adore Pavitr’s city of canyons, and I absolutely LOVE this shot!
#AcrossTheSpiderVerse
#SpiderManAcrossTheSpiderVerse
#SpiderMan
#SpiderVerse
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By far my favorite Easter egg in the film…my daughter Maddi’s rock band album release ad in the subway!!
#AcrossTheSpidervers
#SpiderManAcrossTheSpiderVerse
#spidergwen
#spiderman
#SpiderVerse
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Building rich and detailed neighborhoods to shoot in Brooklyn was a major departure from ITSV which mostly took place in Manhattan. I love these magic hour shots lit by Team Bedford, the all star lighters being Gil Terra, Pepe Orozco and Borja Hernandez. And how 'bout the 2099…
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Earth-928 Nueva York! This retro futuristic visual style consisted of blue pencil sketched lines, marker and acrylic paint, and was influenced by concept art from the '70s and '80s. Brutalist architecture and a cold perfection defined this city.
#SpiderManAcrossTheSpiderVerse
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One of my favorite characters, and quite possibly the coolest hair groom our cfx team ever made, she’s just next level
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We loved pushing the style as far as we could go, and these were some of my favorite shots where we really intensified things graphically to enhance the action
#TheMitchellsVsTheMachines
#Netflix
#animation
#tuesdayvibe
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In the almost three years I’ve been on this film, there has never once been a dull moment. Our Lookdev and Texture Paint teams led Alan Chen and Nicolle Cornute Sutton have brought countless sets and characters to life with their seemingly limitless talents!…
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One of our first sequences in Gwen’s world, these shots taught us how to drive emotion by painting light and color, balance lines & brush strokes and how to stylize facial performances
#AcrossTheSpiderverse
#SpiderManAcrossTheSpiderVerse
#SpiderMan
#SpiderVerse
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These shots were in our stc sequence: “swinging through the city” and was CG Supervised by the incredible Ben Aguillon and lit by his Team Bedford
#AcrossTheSpiderVerse
#SpiderManAcrossTheSpiderVerse
#spiderman
#SpiderVerse
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The watch that Hobie leaves for Gwen opens up a portal that uses Spider-Punk tech built on top of 2099 tech, which is super cool. You can see the familiar hexagon structure inside the portal core, but its been punk'd up with rock poster paper cut outs and torn edges.…
These were two of our first shots where we created a punk portal and it’s effect on characters & environment. We made sure to maintain 2099 portal logic but with a punk bootleg styling
#AcrossTheSpiderVerse
#SpiderManAcrossTheSpiderVerse
#SpiderMan
#SpiderVerse
#spidergwen
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Organizing billboards in Spider-verse was a job unto itself! The sequence where Peter & Miles are dragged by the train had so much signage that we mapped it orthographically shot by shot & notated what went where for consistency and aspect ratio.
#SpiderVerse
#IntoTheSpiderVerse
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Earth-42 is a dark, gritty world where criminality has taken over. It’s noir, almost violent aesthetics are heavily influenced by Frank Miller and Sean Gordon Murphy
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