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Justice League VFX Team Explains How They Revived The Snyder Cut

We all know that Zack Synder was working on the Justice League back in 2017. However, the talented director had to back off as he had suffered a personal tragedy around that time. Since the movie still needed to be completed, Joss Whedon was brought on board. Nevertheless, Whedon had big shoes to fill when he took over. His solution was equivalent to cutting the shoes down to his size as he cut out some major chunks of the movie to make room for the theatrical cut.

The hashtag that started it all:

The #RestoretheSnyderCut movement finally prompted the studio to finish Zack Snyder’s Justice League according to the director’s personal vision for an HBO Max release. Bryan Hirota, the supervisor on Zack Snyder’s Justice League VFX team, recently explained how complicated and what series of tasks were taken to make the film:

“There was a surprising amount of forensic work that had to go into the project. We needed to figure out exactly what was archived, what still worked as expected since technology had moved on, what was missing, and numerous other questions like that. We spent a month just bringing the show back online and sorting through, asking/answering questions, and prepping the material before we were at a place where we could launch into the work full force. The process of chasing down and vetting details to make sure the work that needed to change between the two cuts was actually changed — and, likewise, to undo changes — continued throughout until the end.”

The VFX team was the real MVP for the Snyder Cut to happen:

When Warner finally caved in and brought Zack Snyder back on board, he didn’t need to start from scratch. The VFX team pulled Zack’s version onto the screens. Given that they had to incorporate his style and feel into every shot. According to Hirota, there is one particular scene his team pulled off for Zack Snyder’s Justice League that is a personal favorite, involving Barry Allen aka Flash turning back time:

“I’m proud of all the work we completed for the film, but if I had to pick a moment to spotlight it would be the “cosmic rewind” moment after the Motherboxes achieve unity and destroyed the league. Seeing Barry phase through the destruction and break the rules to turn back time was something that I was quite pleased with visually, and I hope it’s something people find pleasing in terms of aesthetics. I also think it’s a nice beat narratively and helps complete Barry’s arc through the film.”

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Written by Neal Johnson