旺達維是迪士尼的一個重要時刻。這是該公司首次嘗試將驚奇漫畫電影領域擴充套件到流媒體服務Disney Plus，此前10多年專注於戲劇發行。保持這種連續性的一個重要部分是視覺效果。WandaVision是一個相對奇怪的節目，它的故事情節跨越了幾十年的情景喜劇歷史，它有著與之相匹配的美學。但它成功地將黑白魔幻風格的視覺效果與經典的、跨越城市的MCU戰鬥結合起來，讓人感覺自然。

據該劇的視覺特效主管塔拉·德馬科（Tara DeMarco）說，萬達威視的特效方法沒有什麼不同，因為它註定要在客廳裡使用。“驚奇漫畫特寫和流媒體（節目）的視覺效果在質量預期方面非常相似。實際上，我們都在為一個故事服務。“只是我們的一些故事比其他的長。”

現在節目結束了，我有機會和德馬科談了創造那些經典的情景喜劇效果，設計圍繞威斯特維尤鎮的永恆的魔咒，拍攝那些超級英雄大戰，當然還有視覺的CG臉。以下是我們聊天中的一些亮點。

這個故事包含了WandaVision第一季的輕劇透。

論經典情景喜劇的視覺效果

The early episodes were a collaboration between all the departments — but particularly, production design and special effects and visual effects — to determine what could be achieved with puppeteers in each set. And then special effects would go away and rig the different props that we might be given by props, and then we might do different wire works as elements and combine them later. We determined ahead of time that we would get as many practical puppeteered effects as we could, and visual effects would either combine them or enhance them.

Puppeteered effects are used in television sometimes — you just don’t know. And it’s really a way of getting an object for someone to act against and to have something real in the scene that you can take and maybe then duplicate or create in CG in another way. But we often use wires to put objects in scenes. The difference is that we were paying homage to shows that had very specifically put wire gags in that the audience would know. So the plate that heals itself is a great tip of the hat to how they would’ve done it in the era.

德馬科還指出，雖然研究小組對這些節目最初的效果進行了大量研究，但他們還是得到了一些幫助：特技視覺效果部門負責人丹·蘇迪克（Dan Sudick）和一個鄰居一起長大，他在《魔術師》中擔任木偶師。“我們有內部訊息來源，”德馬科說。

在西景的六角上

The Hex was really driven by the story point of each scene. So that first view of it, when Monica gets pulled in, where we see the sort of invisible wall and it’s a mystery, was meant to really unsettle the audience. And so we wanted it to be slightly invisible, slightly visible, unknown, and for it to affect her in an unknown way, but using the language of television. That was driven by [director] Matt Shakman and what he wanted the tone of the scene to be, in terms of what the audience should take away.

Each progression of the Hex was similar in that, in the next episode, we wanted to showcase that Wanda was angry that Hayward had flown a drone into her home. So at the end of the episode, we made it red, violently red, to showcase both her power and that it was meant to be a hard boundary. She wasn’t messing around. And then in the subsequent Hexes, it was really what is important to show about Wanda either keeping people out or letting them in, and rewriting objects to fit within her Westview.

And each time we worked on the Hex, we just made sure that it was clear that it was made of the cathodic lines of old tube TVs and pixelization and a lot of cool RGB chromatic aberration effects so that you could see the colors split into three like the old Trinitron logo.

德馬科補充說，保持十六進位制基本上是一個謎，特別是在頭幾集，是重要的。她說：“我們的想法是不要太炫耀。”。

上一集的那場大戰

All of the big scenes we start with first script, and then boards if we have them, and then [pre-visualization]. So there’s an evolution to all of those scenes so that we have an idea of what the work will be. Once we’ve gotten through a pre-viz scene, and [director Matt Shakman] likes the pre-viz, then we would break down each scene and try to figure out which pieces we could capture with a human or with a set, to keep as much real as possible, and then the next phase is what could we augment in CG, or what could we start with a human and then maybe do a digital double take.

Our last resort is an all-CG scene. Because we wanted as much real and in-camera as we could keep, knowing that it had to be big MCU beats. So we did fly a lot of actors on wires. We flew Visi*** on wires in a library set, we flew witches on wires on a green screen set. But we tried to get the basic elements with practical pieces as much as possible.

在視覺的cg面上

I am most proud of all of our Visi***. I am actually loving the fact that, after [Disney Plus behind-the-scenes documentary Assembled aired], people didn’t seem to realize he had a CG face. So the fact that we were able to execute Vision through so many eras and so many looks — dead, white, on the operating table in pieces, through all of his sitcom emotion — and no one questioned that, they were focusing on Vision and the performance of the character and not on the fact that he had a CG face. That gives me the warm fuzzies.