旺达维是迪士尼的一个重要时刻。这是该公司首次尝试将惊奇漫画电影领域扩展到流媒体服务Disney Plus，此前10多年专注于戏剧发行。保持这种连续性的一个重要部分是视觉效果。WandaVision是一个相对奇怪的节目，它的故事情节跨越了几十年的情景喜剧历史，它有着与之相匹配的美学。但它成功地将黑白魔幻风格的视觉效果与经典的、跨越城市的MCU战斗结合起来，让人感觉自然。

据该剧的视觉特效主管塔拉·德马科（Tara DeMarco）说，万达威视的特效方法没有什么不同，因为它注定要在客厅里使用。“惊奇漫画特写和流媒体（节目）的视觉效果在质量预期方面非常相似。实际上，我们都在为一个故事服务。“只是我们的一些故事比其他的长。”

现在节目结束了，我有机会和德马科谈了创造那些经典的情景喜剧效果，设计围绕威斯特维尤镇的永恒的魔咒，拍摄那些超级英雄大战，当然还有视觉的CG脸。以下是我们聊天中的一些亮点。

这个故事包含了WandaVision第一季的轻剧透。

论经典情景喜剧的视觉效果

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.

德马科还指出，虽然研究小组对这些节目最初的效果进行了大量研究，但他们还是得到了一些帮助：特技视觉效果部门负责人丹·苏迪克（Dan Sudick）和一个邻居一起长大，他在《魔术师》中担任木偶师。“我们有内部消息来源，”德马科说。

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.

德马科补充说，保持十六进制基本上是一个谜，特别是在头几集，是重要的。她说：“我们的想法是不要太炫耀。”。

上一集的那场大战

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.

在视觉的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.