You have used all your credits for this month. Please add more credits to continue.

by

Summary

  • Marvel’s Phase Six is highly anticipated, with a Fantastic Four movie and improved visual effects.
  • Visual effects workers at Marvel ratified their first labor contract, leading to better working conditions.
  • Delays in post-production give teams more time to perfect visual effects, as seen in DCU’s Supergirl movie.

As a devoted cinephile, I can confidently say that I’m thoroughly excited about my personal experience with Marvel Cinematic Universe‘s Phase Six. This phase has garnered such anticipation, rivaling even the aftermath of Avengers: Endgame in Phase Four, for valid reasons. The lineup includes a Fantastic Four film, two Avengers movies, and perhaps the genesis of a “Mutantverse,” which promises to be an intriguing expansion of this cinematic universe.

In addition to its popular films, Phase Six could signal a significant shift for the MCU in an aspect that’s long required enhancement: special effects. Though acceptable overall, certain recent Marvel Studios productions have produced subpar visual effects. Moreover, tensions between the studio and VFX professionals have been rising due to allegations of excessive workload and unattainable deadlines. Now, with a freshly agreed labor contract, there’s a strong indication that the special effects process is set for a much-needed upgrade.

An IATSE Contract Has Been Years In The Making At Marvel Studios

Marvel Studios Has A Poor Working Relationship With VFX Employees

For a long time, there’s been an ongoing demand for unions among visual effects workers, similar to their colleagues who work with practical effects. Just last week, Variety reported that visual effects workers at Marvel Studios have finally approved their first labor agreement. This contract includes provisions such as overtime pay, pension plans, health benefits, meal penalties, rest periods, reasonable turnaround times, and wage increases of 3.5% and 4%. Negotiated last year by the International Alliance of Theatrical Stage Employees (IATSE), this development suggests that the long-standing issues regarding visual effects at the studio may be addressed positively.

It’s important to note that the work environment at Marvel Studios for Visual Effects (VFX) has been far from ideal. For a long time, employees have spoken out about their challenging relationship with the studio, specifically concerning excessive workloads and unattainable deadlines. Numerous accounts have emerged detailing visual effects teams being assigned to rework an entire movie’s third act within just a few months before its release. This pressure often leads to workers experiencing emotional distress, such as breakdowns, tears, or panic attacks. A former Marvel VFX artist once publicly expressed these issues on social media.

This client is extremely difficult, and I’ve noticed that numerous peers have become overwhelmed due to excessive workload as Marvel becomes more cost-conscious.

In other words, because Marvel has such a dominant position within the industry, it’s extremely difficult for visual effects companies to refuse their requests. They strive to stay on the studio’s good side, knowing that being associated with the most successful franchise in history can lead to future profitable projects. Mentioning delays might be similar to wishing farewell to potential high-paying contracts.

The MCU’s Overall Visual Quality Has Been Disturbingly Inconsistent

Who Would Have Guessed That Stretching the Post-Production Pipeline Thin Would Negatively Affect Output?

For about a decade now, Marvel Cinematic Universe (MCU) productions have experienced a mix of highs and lows in terms of visual quality. The movies such as Avengers, Guardians of the Galaxy, Doctor Strange, Black Panther, and Captain America generally meet expectations (though it’s worth noting that the final fight between T’Challa and Killmonger, along with the noticeable green screen scenes in Captain America: Brave New World, are moments that stand out as less than perfect), but films like Thor: Love & Thunder, Ant-Man and the Wasp: Quantumania, and She-Hulk: Attorney at Law have been criticized for their subpar CGI effects.

Avengers: Doomsday and Secret Wars Are the Biggest Beneficiaries of this Development

The Recent Delays Give Post-Production Teams Room to Breathe

The new IATSE contract has advantages for two parties: the employees and Marvel Studios specifically. For Marvel Studios, the upcoming productions like “Avengers: Doomsday” and “Avengers: Secret Wars” are expected to gain more than other projects due to their release dates. Originally set for May 2026 and 2027 respectively, these films have been pushed back to December 2026 and 2027. Notably, “Avengers: Doomsday” only began filming on April 28 – a significant delay from its initial release window. Given the heavy use of visual effects in both films, it’s clear that the production team will need additional time to ensure quality in areas like filming, post-production, and marketing.

Generally speaking, it takes about 16 months from filming to the release of superhero blockbusters in Hollywood, primarily because of the massive scope and intricacy involved, particularly in productions like Avengers: Doomsday. These movies require extensive visual effects (VFX), computer-generated imagery (CGI) characters, some of which necessitate months of laborious frame-by-frame animation, as well as elaborate sets. This is why it wasn’t until 18 months after principal photography started that Avengers: Endgame was given the green light for release.

James Gunn’s DCU Knows How To Properly Treat VFX Teams, At Least So Far

In contrast to the DCU, there’s ample time granted for post-production teams to work their enchantment, as James Gunn pledged last year to create a different approach compared to Marvel.

By conducting a little investigation, you’ll find that my movies have consistently adopted unique perspectives, and I’ve always ensured my VFX collaborators ample time to execute their tasks effectively, along with the appreciation they deserve. This approach contributes significantly to the high-quality visual effects in these films, which is also a testament to the exceptional talent of my friends at Weta, Framestore, ILM, and many others.

He kept his word.

In the upcoming movie “Supergirl: Woman of Tomorrow”, the post-production team has an unusual advantage of 13 months to perfect their work before its planned release on June 26, 2026. Filming for “Superman” started on February 29, 2024, and is set to be released on July 11, 2025. This generous post-production period allows the team to make numerous adjustments to visual effects that were initially rough, a detail keen-eyed viewers might have caught. For example, in the teaser, there’s a scene where someone throws an object at David Corenswet’s Superman and he appears to flinch when it hits his head. However, in the official trailer, this shot has been changed—his eyes remain fixed, portraying a more stoic and invincible Man of Steel. And this isn’t the only improvement; throughout the trailer, many previously unfinished or rough visual effects shots have noticeably been improved and finalized.

Thunderbolts* Is Hopefully the First In A Long-Running Streak of Phase Six Visual Glory

Thunderbolts* leaned heavily on practical effects compared to many other MCU films this decade, but when visual effects were needed, it didn’t disappoint. The Void and his dark realm as well as the entire third-act battle are both impressive, marking a hopeful shift in approach at Marvel Studios.

Read More

2025-05-29 01:06