Gardinas of the Galaxy 2 Art Guardians of the Galaxy 2 Art

The joy is in the details. And in that location is no shortage of detail in the bombastic, toe-tapping opening to Guardians of the Galaxy Vol. 2. The two-time milky way savers – Star-Lord, Gamora, Drax, Rocket, and, of grade, Babe Groot – are at information technology again, this time battling the Abilisk, a behemothic interdimensional beast.

Babe Groot, mischievous and distracted and utterly in his own world, dances to music from Star-Lord's second mixtape while the Guardians throw down in the background, out of focus. The focus on Groot instead of the main activity is the first comedic thrust of the moving picture, a hilarious stroke of wit that dumps audiences in medias res simply with the major action only beyond accomplish.

Although Baby Groot is voiced by player Vin Diesel in the picture show, the tiny tree grapheme's dancing is actually based on director James Gunn'southward ain movements. Gunn's beloved of music was directly translated to the screen by visual effects visitor Framestore, who used a video recorded by associate producer Simon Hatt on an iPhone in Gunn's dwelling house function just afterward he'd written the opening scene. In the video, Gunn dances freeform, with moves "made upwards on the spot" but conspicuously in character every bit Groot. "I'thousand trying to movement my body that [sic] works for a little tree more than what I'd be dancing like in a nightclub in L.A.," said the director.

Director James Gunn dancing to provide reference footage for Groot's animators, via Instagram

The custom typography developed by Sarofsky for the first Guardians of the Galaxy film returns hither, this time in rusty gold and glowing blue neon, providing familiarity and make consistency. The championship card freeze-frame puts Infant Groot in a Matrix-like pose, impervious to – and ignorant of – the commotion around him. As the camera buzzes between light amplification by stimulated emission of radiation blasts and flailing tentacles the film's credits appear wherever in that location's room. Meanwhile Groot continues his dance, adorable and oblivious to the events around him, losing himself to the music.

Like Rob Gordon says in 2000's High Allegiance, "The making of a swell compilation record, similar breaking up, is hard to do and takes ages longer than it might seem. Y'all've got to boot it off with a killer to grab attention." The killer song hither is Electric Light Orchestra's infectious "Mr. Blue Sky," a soaring Beatlesque composition penned by songwriter Jeff Lynne in 1977. It's been used in a handful of films including Eternal Sunshine of the Spotless Mind and The Invention of Lying, but peradventure the most interesting place information technology'due south been played is in space. In 2011, the song was played as a wake-up call for astronauts on the final mission of Space Shuttle Atlantis. The opening of Guardians of the Galaxy Vol. ii recalls that usage, giving the Curiosity moving picture a jump-start, juxtaposing the bright and irresistible "Mr. Bluish Heaven" with something truly out of this world.

A discussion with Executive Artistic Managing director ERIN SAROFSKY of Sarofsky and Animation Supervisor ARSLAN ELVER of Framestore.

And then Guardians of the Galaxy Vol. 2 is Sarofsky's sixth Marvel project to date. How practise these projects typically come to you at this betoken?

Erin: What's actually funny about Guardians of the Galaxy Vol. 2 is that they shot the whole opening sequence specifically to have the type in there, but it really wasn't until towards the end of the process that we were brought in. I can't call back exactly the schedule, but it was a few months to the finish line.

And so what were your first conversations with director James Gunn about this? Where did this all start?

Erin: We went out to see the motion-picture show and and then we had a conversation with him later on the picture. That doesn't always happen – information technology depends on schedule and availability – just we got to have a conversation with him. He was very specific about what he wanted, but was also open to other things. He was intrigued to hear what we thought because we'd been through the whole procedure with him one time already and there was at least a ground for dialogue. At first he was thinking that information technology might be a different typeface, but I was similar "Ooh, but it'southward branded!" [laughs] "It's very important! But we'll testify you some options that aren't that"... just I was plain going to push very hard for it to be at least a version of the same typeface – something that at least nodded to what nosotros did in the first 1. Information technology got there, just he did have to see it. He wasn't tied to it though, which was kind of cool.

He's the only managing director that we piece of work with who does that. He literally wrote this sequence equally a bed for main titles.

—Erin Sarofsky

Guardians of the Milky way Vol. 2 (2017) early title design concepts

Erin: And so we had a big round of visual exploration, similar we ever do. Hither's a agglomeration of ideas! What if we built off the typeface nosotros created from last time? What if we rendered it a bunch of different ways? Hither's some flat options, some 3D options, some in the space, some non in the infinite. Nosotros went through that creative procedure with them. It was every bit large an endeavor as it would be with a full main-on-end, merely it'southward just a lilliputian more microscopic in terms of the actual letterforms and things similar that. It'due south nice to be able to focus on type in that kind of a manner.

So information technology sounds like y'all didn't have to pitch on this project as might usually be the example...

Erin: In this case we were the but people brought in, but typically in the Marvel space we do have to pitch every time. [James] actually liked where we were at on the first one and our ability to exercise "unproblematic". He knew that information technology was going to accept to exist really elementary. The wireframes we saw for the opening, they had the orbs in the background and the plates for the actors and things like that. The choreography was pretty much there, but nosotros didn't see any of the stuff in the background. He was the only 1 who knew how far information technology was going to get – and nobody else probably.

Guardians of the Galaxy Vol. 2director James Gunn on gear up with actor Michael Rooker.

Arslan, could you tell united states of america virtually Framestore's primary role on Guardians of the Galaxy Vol. 2?

Arslan: We were tasked with creating the main avails of the show and distributing them to other vendors. We recreated Rocket with a improve costume, hair simulation and facial expressions. We too created the Baby Groot asset, model, rig, and find his character through exploration of the performance, how human he is, how child-like or not.

Likewise creating the primary characters we were tasked with approximately 600 shots. These included the flick's thou opening scene, Ayesha's lair, the space chase, and the Eclector scenes when Rocket, Babe Groot and Yondu are imprisoned in the transport.

What were some of your initial conversations about the film's opening sequence? Were James Gunn or the producers at Marvel involved in those discussions?

Arslan: By the time I joined the show there was already a very detailed previs washed by The Third Flooring. All the camera moves were established and roughly what was happening in the groundwork. Groot's performance wasn't in that location, obviously. It was a stick figure moving in a cycle. The big matter for James was there is this massive fight going on in the groundwork and Groot isn't even enlightened of information technology. He is in his ain globe. He dances with his eyes closed or he gets distracted by the Orloni – the creature Groot rides. He wanted to play with this idea a lot. Information technology paid off massively.

Erin, what did that beginning version of the opening you saw look like?

Erin: Information technology was a very heavily visual furnishings sequence. All the characters were shot against green screen doing their wire piece of work, and so really nothing was at that place. All that was there were the circular platforms that they were standing on, the orbs in the back, and the beast in very crude class – all of the main elements were in there. But they had the people cutting out as they're flying around and sometimes y'all withal saw the wires. In that location were ii shots that were pretty finished-looking because by that point the trailer was out. So those two little chunks were there, only even then they changed those shots – they were still working on them. Just considering it'southward in the trailer doesn't mean it'due south finished!

Guardians of the Galaxy Vol. two (2017) teaser trailer

Arslan: There are only pocket-size bits of real footage. When Quill falls on the ground and shoots next to Groot dancing, and when he says "Groot!" and and so gets smashed by the tentacle of the Abilisk – that'south real. Gamora talking to Groot earlier flight off is real. And Drax rolling in and stopping behind Groot is existent. But a few elements, really. The bulk is CG and digital doubles. For example, when Drax falls on the speakers nosotros ended up using CG Drax considering for purposes of interaction and animation it was just easier.

Erin, it seems like being able to focus merely on the typography would exist less piece of work for your team, simply yous had to make information technology work in this larger context with and then much happening in the background. Was that a challenge?

Erin: Completely! That was a huge obstruction. All the [visual effects] piece of work that Framestore did was manifestly incredible, but a lot of the work that we saw when we did our initial start pass wasn't there. All of the layers of effects, the explosions, a lot of that just wasn't in there. And so every new pass we got from them had more and more and it was like, "Oh, well I guess the blazon tin can't become in that location… or at that place." [laughs] Or it was like, "Oh shit! We take to rethink our type completely considering in that location's now all of this colourful, effervescent plasma that'due south spewing everywhere." Then it continued to be a moving target. They're figuring out the process too, so if anyone is going to be the i reacting and irresolute, information technology's u.s.a..

Were all the Infant Groot dance moves already figured out?

Erin: Oh yeah! Information technology was blocked out. There was no Sean Gunn dancing or anything like that, but it is James Gunn dancing then they modeled it around him. He does the dance and Infant Groot gets blithe based on that.

Arslan, how did Framestore turn James' trip the light fantastic moves into the animation for Infant Groot?

Arslan: James is an amazing director. He is really invested in his movie and his characters. He did this niggling dance at the end of Guardians of the Galaxy for Babe Groot in post. He generously did the same for this massive shot. He danced out the whole sequence. We had to change some parts of information technology to make it piece of work with the camera speed or the specific moments, but he was the soul of it and a big inspiration.

We had to change some parts of it to make it work with the photographic camera speed or the specific moments, but he was the soul of it and a big inspiration.

—Arslan Elver on James Gunn'southward dance moves

Director James Gunn dancing to provide reference footage for Groot's animators, via Instagram

Arslan: Nosotros didn't motion capture information technology though, because mocap creates a feeling of a human under the skin of Groot. He wouldn't exist able to do such complex motions like a human would, so we carefully analyzed his performance and animated past mitt a fully keyframe Infant Groot.

So aside from Groot, how does production on a large, complex VFX sequence like this typically start? Can you walk us through how it gets from a folio in the script to something that begins to resemble the concluding product?

Arslan: In that location is a script of course, simply a sequence like this really starts to flesh out with previs. James worked with the previs team based on the song he chose in bang-up detail. After many iterations they get a version James is happy with. That previs then came to us. We looked at it and since it'south one single shot it would have been impossible for one person to animate the whole thing or lite it or comp it. And then nosotros split up that one long shot into 11 pieces. We tried to selection the places that made sense for an like shooting fish in a barrel transition betwixt the chunks. When we received the previs, the titles were already there. Although they were 3D titles that lived in the actual space rather than stay on the screen like it is now.

Arslan: The next step is to start to block out the performance of Groot based on the cameras choreography. Since the geographic position of Baby Groot is very of import, the challenge was not only create a slap-up performance but also brand certain he ends up in the right places based on the previs and camera moves. Then we finesse the functioning and finesse the hookups between the eleven shots, not only for Groot just too for the background action. It was a massive challenge to animate so many things in one single continuous shot.

It was quite a complex thing, really. Non only for animation but for cloth simulation, for FX, and for compositing. Every department had to bargain with this, which takes time so it puts extra pressure on the schedule. Every bit usual comp also helped a lot to cover some bug and make information technology look seamless and awesome.

Erin, what did the nuts and bolts of product look similar on your side? What were the first steps?

Erin: Blueprint. Always design. They'll send u.s. the opening, wherever it is at the fourth dimension, and we get-go laying type on top of information technology, doing some motion tests, and merely kind of getting a vibe for all the different directions they could take it. For Vol. 2 we really focused on 3 areas: one was doing three-dimensional blazon that was integrated throughout the whole title sequence in the space, kind of like how Guardians of the Galaxy was. Then we explored doing some 2d type options on meridian and and so we looked at some flat type brought on by dimensional things. And so like creating a picayune hovering character that projected a hologram upwardly on the screen, something completely out of the box. They were similar, "Holy shit, that's cool!"

Guardians of the Galaxy Vol. 2 (2017) early title design concepts

Erin: I thought that had a real chance of living. It was an interesting, innovative solution. Information technology was completely left-field. We talked about the 3D type in the space, we talked about simple second blazon, and then we came up with three or four other ideas for how to handle it. He looked at that, got really interested in that, and and then it started to dawn on him that that would hateful nosotros'd have some other grapheme in the sequence. This piddling hovering affair, large or modest or floating around, whatever form it takes on, information technology's another graphic symbol. What's cool about information technology is that it could fly away from the action, yous know? It could move to the side and conform any animation that Framestore was doing. It was a clever thought, but then he started worrying almost having to deal with some other character in a complicated scene. And then the whole process became one of simplification. How piddling tin can we do to mess with this fun narrative that'due south already going on?

So yous ended upward settling on the 2D solution for most of the sequence with the exception of the title carte reveal, which really interacts with the scene in a cool way. Could you tell me a bit well-nigh that element of the sequence?

Erin: That was a absurd procedure because that had to physically be in the space. We designed the typeface, we extrapolated it out, nosotros modeled it, we did render tests and texture tests, and book frames, and so ultimately we took all of our models and avails and handed them off to Framestore to actually put into the scene. Then it'southward rendered into the scene!

The final title card as it appears in Guardians of the Galaxy Vol. 2 (2017)

Arslan: The freeze-frame was James' thought but information technology wasn't really fleshed out in previs. He was keen to see different versions of the shot and he liked the freeze-frame version then we concluded up doing it. We got the model from Sarofsky and applied our shaders. The gold material of the platform was added and placed into the animation scene. One dainty touch was the "Vol. 2" function of the championship card. It plays like a neon tube and the lighting of that interacts with the environment and Infant Groot. It was a dainty bear upon.

Erin: We worked with all of their working files, which they'd sent to us, and we built in their environments then everything was exactly to calibration. Nosotros'd send them tests and they'd review them and exist like, "Actually, it'd be cool if your files were a little bit more similar this!" We would accommodate. So when they got our work it was basically but plopped right into their world.

Is that an unusual process for yous guys to hand your work off like that?

Erin: Yes! [laughs] On the main title side for sure because usually it's all in our globe. Sometimes we deliver titles to Technicolor to go on top of something else, but that's a bit different. We had to totally piece of work inside their pipeline, which was quite extensive. We had it looking exactly the way we wanted to, so information technology wasn't similar we handed off a 3D model and were like, "Texture information technology all the same yous want it!" We had proper 3D rotations of it where the lighting moved around it, so they could see what our full intention was.

We had a lot of communication with Framestore. They built these scenarios, everything was in place and canonical, and their pipeline was more challenging than ours. We wanted to exist equally all-around equally possible to be able to address James' notes merely besides make certain that we weren't messing with anything they were doing. We were trying to treat them how we would want to be treated in that situation.

The Guardians series is unique among Curiosity movies in that they feature elaborate opening credit sequences – near other films in the franchise forego an opening in favour of a strong main-on-finish championship sequence. Could you talk about James Gunn's approach to these sequences in your conversations with him and how it might differ from the other directors y'all've worked with?

Erin: He writes it into the script. I recall he'due south the only director that we work with who does that. He literally wrote this sequence as a bed for main titles. He also puts the music in the script. At that place'southward a musicality to all of his work. That's a big part of the tone of the Guardians movies and I think function of why people beloved them so much.

Guardians of the Galaxy (2014) master titles, designed by Sarofsky

Erin: It's completely different when you're walking into something that is already planned versus a state of affairs where y'all're just told, "I don't know! Show united states of america some cool stuff and we'll pick." Totally different. He's not a typographer or a traditional designer, but he certainly has a very specific point of view when it comes to the blueprint of this. He definitely knows what he wants – and he knows what he doesn't desire. We could testify him the coolest-looking affair and be similar, "He's gotta bite on this!" He wants the simple affair. He'southward the one with the vision for what it'southward going to wait similar all the fashion through.

Is there a specific element or moment in the master title that yous're well-nigh happy with?

Erin: I'm only happy that they fit into the tone of the movie. They're really fun, but I'm really proud that they didn't go far the fashion of annihilation to be honest. There were a lot of solutions that could take been as well much, but we erred on the side of simplicity and that served the larger purpose in that location.

Arslan, do yous have a favourite moment or element that yous're most happy with?

Arslan: That's similar asking, "Who is your favourite child?!" To be perfectly honest, it's the whole of it. At that place is so much fun stuff and contrast in that long shot. It took months to get information technology done and it was worth every bit of sweat and blood.

OK! So let'south talk about the end title and the crawl.

Erin: Yeah! That's our first one always.

Guardians of the Galaxy Vol. ii (2017) end title sequence including clamber and stingers

The "Guardians of the Galaxy Will Render" is obviously nice nod to James Bond, but tell us nigh some of your inspirations for the lasers carving out the type.

Erin: Information technology was stuff from the movies! We obviously took the typeface from the beginning and nosotros wanted information technology as this outline, just the question so became "How can nosotros bring this on in a cool mode?" I desire to say "PEW PEW!" but that's Star Wars, but this was pulled from the picture show, the ships and their lasers. So we kind of matched that. We thought they were going to want to do something a lot simpler, so we called this handling "Crazy Lasers". [laughs] "Crazy Lasers" is the handling and that's what it was called the unabridged fourth dimension.

We didn't know what the best approach was. The stop of the motion-picture show with Rocket crying was but so emotional, so I just did not remember they'd go with "Crazy Lasers" in a meg years. I thought they were going to want to ease you into it. But they bellow correct into that fun music to snap you out of it. They evidently had the vision to empathise that, simply nosotros wanted to provide options. In editorial they put things in and meet what feels right, and "Crazy Lasers" for the win!

Now with so many stingers – the afterwards-credits scenes – does that throw a wrench into what you guys accept to produce? Exercise you have to produce more content for the crawl in that case?

Erin: It is a major wrench! Information technology is the epic wrench. When nosotros were presenting our solutions for the main title, we were in at that place with Victoria Alonso and James and Kevin Feige and Louis D'Esposito – all these actually impressive people – and I say nosotros're washed. I'k going to get up and say "Okay, cool so we have our direction!" "No, no, we want to talk to yous nearly something else. We want you to think well-nigh doing the cease crawl." I was just like "No. No, no, no, no, no! We're not doing an end clamber." Everybody was just kind of looking at me like I'chiliad totally bananas. But so Victoria suggested that we have Exceptional Minds continue to set the type in whatever style y'all dictate. They're this smashing company out in Los Angeles – they're more of a university actually – that helps kids on the autism spectrum find work in post-production. Victoria is very committed to making sure they have work. It'south really great!

Marvel Studios executives Kevin Feige, Victoria Alonso, and Louis D'Esposito, 2015

Erin: The idea was to have Infrequent Minds set the type and we'd do the design. The trouble as they explained it was that they had all these tags and were calculation more than, and they needed a design solution that was going to go on people in their seats. That was the coolest thing I'd e'er heard. And then nosotros started talking about it a trivial more, they told me what the tags were, and sent a couple over that they already had, and then we started designing and coming upwards with solutions for what this end crawl could be. It's thousands of people's names! Thousands of names.

Then yous brought in Exceptional Minds to do that the typesetting and credit checking parts of the clamber?

Erin: Yeah, and so we went through the process of choosing a typeface, choosing the size and speed, and the technical process of strobing and all that stuff. We came upwardly with the formula for how it should wait and then they set all the type and provided renders to us. We'd and then put that into our design. The process with Infrequent Minds was that they gave u.s.a. white type on blackness, only scrolling, and then we put information technology into the bigger pattern and delivered it to Marvel.

How would you describe that bigger design, the concept for the end titles? It sort of looks like album covers from the 1970s.

Erin: Old album art! Totally inspired by that. Marvel's legal team is the greatest, so we couldn't get away with doing anything referential or specific, but there is a vibe to information technology where information technology feels like '70s album art 100 per cent. Nosotros took albums and scanned the old textures. We raided all of our family's closets and got all these albums that were all scratched up. Nosotros scanned that and put that in there because we thought it was an of import part of the textural nature of it.

There is a vibe to it where it feels similar '70s album art 100 per cent.

—Erin Sarofsky

Guardians of the Galaxy Vol. ii (2017) end crawl concepts

And you've also packed in all these petty details and glimmer-and-yous'll-miss-it gags. Were those dancing characters shot or created specifically for the stop crawl?

Erin: They merely shoot a whole agglomeration of random shit. They practice it when they're doing promo shoots, they do information technology on set, they practice it all the time. They shot some of those tags pretty tardily in the game, so they'd grab things. We didn't get whatever of the David Hasselhoff stuff until the very end. David Hasselhoff actually sings that concluding vocal, then they were doing a phonation record with him and decided to shoot him for the end. The whole betoken was for information technology to feel janky and gif-like, so nosotros just started popping stuff in and making it work.

Yeah, information technology'due south got that whole Boomerang consequence to a lot of the movement!

Erin: Totally! And we likewise had the flashing type that started out as "I am Groot" and then inverse to people's names. My big thing that I think that Kevin liked for sure and James got obsessed with was similar "What else can we put in hither? What are these Easter eggs that we can use to keep people in their seats?" It became their obsession all the style to the very terminate.

Guardians of the Galaxy Vol. 2 (2017) cease clamber extract

Practise you have a favourite Easter egg or moment from the end clamber?

Erin: I beloved that row in the blue earth where they're all dancing. I call back that's so fun. You lot've got Mantis in there, Rocket's in there – Rocket is dancing so somebody had to animate that for u.s.a.! "We'll phone call so and so and have them animate Rocket for you." Merely to make a little gif. Rocket was created for us. We didn't take him dancing until the very end. They also must have been shooting Thor: Ragnarok at the aforementioned time because they were able to get footage of Jeff Goldblum dancing. He'southward in one of the circles!

And Howard the Duck!

Erin: Yes! Of course.

Howard the Duck's brief appearance in the Guardians of the Galaxy Vol. 2 end clamber

Arslan, did Framestore do any work on the characters in the finish crawl or stingers?

Arslan: Yes. We were tasked with the adolescent Groot shots. James' blood brother Sean played him on set and we used his performance for inspiration. Groot is playing some infinite video game and is being dismissive, like anybody is at that age. It was quite a fun matter to animate!

Erin, would you lot practise an end crawl over again?

Erin: They're and so long! Honestly, we knew it was going to exist more work than we thought it was going to exist considering of their pipeline. When they do something they are all in! It was no joke, until the very stop we were consistently working on it. We knew information technology would be cool, merely we also knew it was going to be a giant claiming. And it'south stuff you wouldn't necessarily come across on screen. For case, if three names are added to it, it's going to change the timing of the whole section in between the tags.

And is in that location a specific element or moment in the cease crawl that you're most happy with?

Erin: With the end crawl I'm merely glad we gave people some amusement while they were waiting for their cool tags. You go from a main title, which is essentially a legal document but can be very artful, to an end crawl, which is like reading a contract. My god! Unless your name or your kid's name is in it, at that place's a pretty good run a risk you're not reading it! And then to give people a reason to wait through it, to express mirth and be engaged with it was really cool. I'm actually proud of that.

Then are you ready to tackle another end crawl after this project?

Erin: I very well might say thank you lot but no, but I would at least hear them out. I wouldn't get up and endeavor to leave! [laughs]

View the credits for this sequence

Client: Marvel Studios
Picture Manager: James Gunn
Curiosity Studios Executive Producers: Kevin Feige, Louis D'Esposito, Victoria Alonso
Marvel Studios Post Producer: Jennifer Bergman

Principal Championship Sequence
Production Company: Sarofsky
Lead Artistic: Erin Sarofsky
Executive Producer: Steven Anderson
Producers: Erik Crary, Sam Clark
Visual Effects Supervisors: Matthew Crnich
Post Production Producer: Jennifer Bergman
Lead Designer: Duarte Elvas
CG Artists: Brent Austin, John Filipkowski, Alex Kline, Zach Landua, Josh Smiertka, Dan Tiffany, Ryan Vazquez, Tnaya Witmer
CG / Finishing Artist: Cory Davis
Finishing Assistant: Erik Uy

Visual Effects and Animation: Framestore
Visual Effects Supervisor: Jonathan Fawkner
Visual Effects Producer: Sophie Carroll
Visual Effects Co-Supervisor: Patric Roos
Visual Effects Executive Producer: James Whitlam
Blitheness Supervisor: Arslan Elver
CG Supervisors: Sylvain Degrotte, Andy Walker
Compositing Supervisor: Matthew Twyford

Cease Credits and Crawl
Product Company: Sarofsky
Lead Creative: Erin Sarofsky
Executive Producer: Steven Anderson
Producer: Erik Crary
VFX Supervisor: Matt Crnich
Designers and Animators: John Filipkowski, Duarte Elvas, Tnaya Witmer, Josh Smiertka, Dan Tiffany, Zach Landua
Cease Clamber Typography Layout: Exceptional Minds
CG / Finishing Artist: Cory Davis
Finishing Assistant: Erik Uy

Music:
"Mr. Blue Sky"
Written past Jeff Lynne
Performed by Electric Light Orchestra

"Surrender"
Written by Rick Nielsen
Performed by Cheap Trick

"Father And Son"
Written past Cat Stevens (as Yusuf Islam)
Performed by True cat Stevens

"Flash Light"
Written by George Clinton, Bernie Worrell, and Bootsy Collins
Performed past Parliament

"Guardians Inferno"
Written by James Gunn and Tyler Bates
Produced by Tyler Bates
Performed by The Sneepers ft. David Hasselhoff

SUPPORT FOR Art OF THE TITLE COMES FROM LENS DISTORTIONS

Cinematic furnishings for filmmakers, editors and VFX artists.

Featuring overlays made from distinct glass elements, natural sunlight, and other optical sources.

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Source: https://www.artofthetitle.com/title/guardians-of-the-galaxy-vol-2/

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