![]() ![]() “Ramirez starts animating them in Maya and creates these fully realized animated sequences,” Ford says. They would pitch or show stills and storyboards, and Ramirez would run with them. ![]() “Ramirez was literally an additional director/writer/editor on the movie because he would come up with these sequences for us based on our pitches and our ideas and what was in the script,” says Ford. Pre-visualization and Assembling an Editorial Super Teamīefore shooting on Endgame even began, they did extensive pre-visualization to help realize and visualize footage of characters, locations, and action sequences that can’t exist outside of a computer, but are needed to both influence shooting and Ford’s early edits.įor previz, Ford worked with Gerardo Ramirez from The Third Floor, whom he calls a genius. As for who Marvel’s go-to pre-visualization company is: The Third Floor. A large reason for that is the significance pre-visualization plays in creating a Marvel Studios film.Įditors would edit existing pre-visualization, or influence their creation, in order to provide sequences that would guide production on what to shoot once the cameras started rolling. Shawver ( Black Panther) were brought in weeks before production even started. Editors like Craig Wood ( Ant-Man and the Wasp) and Michael P. Throughout Phase 3, editors frequently were brought on extremely early on their respective films. ![]() You’d smile like that too if you were the lead editor of the movie that crushed so many records and made cinematic history. Let’s take a look at the amazing behind-the-scenes editorial work that went into making what is arguably one of the great achievements in cinematic history. at $2.3 billion-in just TWO WEEKS (it’s safe to say that Avatar’s nearly decade-long record of $2.7 billion will soon be beaten). As of this writing, Box Office Mojo has its worldwide B.O. “It was one of the best nights that I’ve had in my career.”Įndgame would go on to shatter just about every major box office record, racking up a “Thanos-sized” opening box office of $1.2 billion. It was one of the best screenings I’ve ever been to,” he says, but goes one step further. “The audience was just in every moment and it seemed like they were having the ride of their lives. That night’s screening of Endgame overwhelmed him in the best possible way. Would they love it? Would they hate it? When would they laugh, or cry, or cheer? He wanted to be carried away by the reactions of the audience and become, for those moments, not an editor but a fan. This was the culmination of a massive journey that began in 2008 with Iron Man, and Jeff wanted to see how audiences reacted. Together with Marvel Cinematic Universe mastermind Kevin Feige, as well as directors Joe and Anthony Russo, Ford had snuck into an opening night screening at the Village theater in Westwood, California, to watch Endgame. On the night of Thursday, April 25, 2019, Avengers: Endgame editor Jeffrey Ford found himself sitting in a movie theater close to tears. ![]()
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