For Spider Gwen's costume, all of the pink and the blue webbing has a slight ambience to it so it always has value no matter the lighting environment. The whites of her suit have a slight iridescence for some tinges of color. #SpiderVerse #Quarentinewatchparty

— Michael Lasker (@mlasker) May 7, 2020

Penny Parker didn't have a 3d mouth, she had 2d shapes driven by animation that created the anime mouth effect. Spider-ham was mostly solid colors with rims of light broken up by dots. They were both very flattly shaded. #SpiderVerse #QuarantineWatchParty

— Michael Lasker (@mlasker) May 7, 2020

We created a much more graphic style of web slinging than our live action Spider-man movies. These webs had a singular center spine with coils of web spiraling around it. We would dial its complexity based on distance from camera. #SpiderVerse #QuarantineWatchParty

— Michael Lasker (@mlasker) May 7, 2020

All of our characters were lit under the same lighting conditions, and their shaders and look development drove their appearance. This is how we were able to cast shadows and reflections, and keep everyone relating to each other convincingly. #SpiderVerse #QuarantineWatchParty

— Michael Lasker (@mlasker) May 7, 2020

The fx team created an awesome graphic spray paint sim on the lens for the closeups of Miles spray painting the wall. #SpiderVerse #QuarantineWatchParty

— Michael Lasker (@mlasker) May 7, 2020

The Green goblin had tons of displaced scales mixed with geometry scales that would break off during the battle. The texture paint team did an amazing job on him! #SpiderVerse #QuarantineWatchParty

— Michael Lasker (@mlasker) May 7, 2020

Animation created graphic holdout shapes that we would subtract from The Prowler's cape in order to get the extremely hard edged graphic shaping #SpiderVerse #QuarantineWatchParty

— Michael Lasker (@mlasker) May 7, 2020

We built about 140 uniques buildings for Manhattan and Brooklyn, and every building had a night and day variation. We build skyscrapers, residential, modern, industrial, pretty much anything you'd find in New York! #SpiderVerse #QuarantineWatchParty

— Michael Lasker (@mlasker) May 7, 2020

We had so many billboards in this film it was a job in itself. Sony Animation provided us with a massive spreadsheet, and we created signage components of all shapes in sizes that we could populate and art direct shot by shot. #SpiderVerse #QuarantineWatchParty

— Michael Lasker (@mlasker) May 7, 2020

The trees were a challenge.We used translucency to blend leaves together, and painted organic graphic tree trunk textures based on great reference from the visual development team. The style of trees typically illustrates the style of the film! #SpiderVerse #QuarantineWatchParty

— Michael Lasker (@mlasker) May 7, 2020

Doc Ock's villain costume was the most complex outfit that we created. Her tentacles have fx wire geometry published on a per shot basis, and her suit has subsurface scattering, chrome and other metals and translucent materials. #SpiderVerse #QuarantineWatchParty

— Michael Lasker (@mlasker) May 7, 2020

During the battle in Aunt May's house, the lighting starts off bright and sourcey, and slowly gets more and more contrasted and naturally lit from the exterior, ending in high value ranges and denser shadows. #SpiderVerse #QuarantineWatchParty

— Michael Lasker (@mlasker) May 7, 2020

Phil Lord and Christopher Miller, the creative minds behind The Lego Movie and 21 Jump Street, bring their unique talents to a fresh vision of a different Spider-Man Universe, with a groundbreaking visual style that's the first of its kind. Spider-Man: Into the Spider-Verse introduces Brooklyn teen Miles Morales, and the limitless possibilities of the Spider-Verse, where more than one can wear the mask.

• More Movie Coverage
  
• More Entertainment Highlights