The best CG VFX of the Marvel Cinematic Universe

The best CG in the Marvel Cinematic Universe is hard to pin down, as there's just much of it at such a high quality. When it comes to sheer quantity of visual effects shots one could argue that Marvel Studios has created an offshoot industry as thousands of shots have been created by an army of visual effects studios that span the globe, and literally works 24/7 when factoring in the time zone differences.

In order to manage the demand for digital content several visual effects coordinators are assigned a particular set of visual effects companies to support the production visual effects supervisor and producer. The process is as epic as the end product which are perennial Oscar-nominees for Best Visual Effects. (Get an insight with Ant-Man VFX secrets and Marvel's The Avengers concept art.)

There is a lot of material to go through when selecting the best of best but interestingly some have chosen to highlight the beginning of the MCU as it set the standard for what was to come.

Iron Man (2008)

When the Marvel Cinematic Universe was launched in 2008 with the release of Iron Man and The Incredible Hulk, it was the cheeky irreverent attitude and charisma of Robert Downey Jr. paired with high tech wizardry featuring innovative HUDs and imaginative advanced robotic armour suits that became an irresistible box office sensation that won over John Knoll, COO, ILM, saying: “I'm a big fan of the work on the first Iron Man film.”

He is not alone as veteran visual effects supervisor Robert Legato, who collaborated with Iron Man director Jon Favreau on The Jungle Book and The Lion King, is in agreement with his colleague.

Robert explains: “Not being very fluent in Marvel films, I would have to say the CGI I admire the most is from the first Iron Man. It presented a level of quality and fun that I hadn't seen before in human animation. The CGI effectively rounded out and enhanced the character, making the first Iron Man my choice for the best use of CGI in Marvel films.”

Doctor Strange (2016)

Getting seriously psychedelic is exactly what happened when Eldritch Whip, Rhune Shield, Astral Projection, and a kaleidoscopic New York City skyline got introduced into the visual language of the MCU.

“Doctor Strange [2016] was great fun with its mind-bending, Escher-esque, trippy visual effects,” states Sheena Duggal, who got to deal with some supernatural elements with Ghostbusters: Afterlife.

The visual effects in this film are a brilliant use of the visual effects toolset to master design and creativity. Guardians of the Galaxy is another great example, both Groot and Rocket are character-driven actors that add depth and humor to the story. Avengers: Infinity War and Endgame – Thanos is noteworthy for his detailed facial expressions, again bringing emotional depth to the character.”

Guardians of the Galaxy Vol. 2 (2017)

Ironically, the trilogy of movies in the MCU that constantly gets praised for its visual effects work initially was seen to be an odd choice for Marvel Studio president Kevin Feige to adapt but his instinct along with recruiting filmmaker James Gunn turned out to be a masterstroke.

“Such a brilliant intro to the second instalment of the Guardians of the Galaxy franchise,” notes Sara Bennett who surprised the world when Ex Machina won the Academy Award for Best Visual Effects.

Adding: “The animation of Baby Groot dancing around and being carefree, oblivious to the carnage going on around him, is really well executed by the animation team. The visual look from the environment builds, and the dynamic use of the camera gives it this great energy. The beats throughout that re-introduce you to the characters are seamlessly done with the very cool design of the CG Abilisk in the background.”

Guardians of the Galaxy Vol. 3 (2023)

Sara Bennet and Sheena Duggal are not alone with their praise of the Guardians of the Galaxy franchise as Adrian de Wet (Slumberland) was impressed with the third instalment so much so that it was closest to the MCU finally being awarded with an Oscar for Best Visual Effects.

“I thought the last Guardians of the Galaxy was not only the best visual effects in a Marvel movie, but it was also the best visual effects of 2023. Every single shot was beautifully designed and composed, and expertly executed," says Adrian. "And that oner was a real joy. The visual effects dovetailed perfectly into the production design and the DI gave it a beautiful colour scheme that made the whole thing an absolute treat for the eyes.”

Marvel Bonus: Best Stunts Integration with VFX

Joining the Marvel Cinematic Universe are the X-Men, which have a rich history of gravity defying abilities that could not be achieved without a successful marriage between stunt choreography and digital manipulation.

Oddly enough one mutant character has crossed over before, played by two different actors and having two diverging adaptations, with the Fox version gaining the most traction with fans and critics. The 'Quicksilver kitchen scene from X-Men: Days of Future Past remains an iconic and often replicated VFX shot.

What many don’t know is that Quicksilver was shot with a stunt guy who ran practically around the room on a specially designed rig

Sheena Duggal, visual effects supervisor, compositor and designer

“The kitchen scene from X-Men: Days of Future Past is one of the film's most memorable sequences,” enthuses Sheena Duggal. “In this scene, Quicksilver uses his super-speed abilities to manipulate a fight sequence in the Pentagon kitchen, everything else in the room moves in slow motion compared to his lightning-fast movements, allowing him to reposition bullets, disarm guards, and playfully rearrange their faces.

"What many don’t know is that Quicksilver was shot with a stunt guy who ran practically around the room on a specially designed rig, while the rest of the performers held their positions and were later stabilised by the visual effects team.

"All interactions, like the wedgie and the poke in the face, were done practically, and CGI elements were added later. The effects on the face were also created practically by blowing wind into the stunt actors' and performers' faces. It’s a beautiful example of how stunts and effects teams work in tandem with visual effects teams.”

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