The Art of Guardians of the Galaxy 2 Boxed Set

The joy is in the details. And in that location is no shortage of particular in the bombastic, toe-tapping opening to Guardians of the Galaxy Vol. ii. The two-time galaxy savers – Star-Lord, Gamora, Drax, Rocket, and, of course, Baby Groot – are at it over again, this fourth dimension battling the Abilisk, a giant interdimensional beast.

Babe Groot, mischievous and distracted and utterly in his own globe, dances to music from Star-Lord'due south second mixtape while the Guardians throw down in the background, out of focus. The focus on Groot instead of the main action is the first comedic thrust of the film, a hilarious stroke of wit that dumps audiences in medias res just with the major action just beyond reach.

Although Baby Groot is voiced by actor Vin Diesel fuel in the film, the tiny tree character'south dancing is actually based on director James Gunn'southward own movements. Gunn'due south love of music was directly translated to the screen by visual effects company Framestore, who used a video recorded by associate producer Simon Hatt on an iPhone in Gunn's home office but after he'd written the opening scene. In the video, Gunn dances freeform, with moves "made upwards on the spot" but conspicuously in character as Groot. "I'm trying to motility my body that [sic] works for a little tree more than than what I'd be dancing like in a nightclub in L.A.," said the managing director.

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

The custom typography developed past Sarofsky for the first Guardians of the Galaxy picture show returns here, this time in rusty gold and glowing blue neon, providing familiarity and brand consistency. The title carte freeze-frame puts Babe Groot in a Matrix-like pose, impervious to – and ignorant of – the mayhem effectually him. As the camera buzzes betwixt laser blasts and flailing tentacles the motion-picture show'south 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 great compilation tape, like breaking upwards, is hard to do and takes ages longer than it might seem. Yous've got to kick information technology off with a killer to grab attention." The killer vocal here is Electric Low-cal Orchestra's infectious "Mr. Blue Sky," a soaring Beatlesque composition penned by songwriter Jeff Lynne in 1977. It'south been used in a handful of films including Eternal Sunshine of the Spotless Mind and The Invention of Lying, only peradventure the well-nigh interesting place it's been played is in infinite. In 2011, the song was played as a wake-up call for astronauts on the terminal mission of Space Shuttle Atlantis. The opening of Guardians of the Galaxy Vol. 2 recalls that usage, giving the Marvel film a jump-start, juxtaposing the bright and irresistible "Mr. Blue Heaven" with something truly out of this world.

A discussion with Executive Creative Director ERIN SAROFSKY of Sarofsky and Animation Supervisor ARSLAN ELVER of Framestore.

So Guardians of the Galaxy Vol. 2 is Sarofsky'due south 6th Marvel project to date. How do these projects typically come up to y'all at this betoken?

Erin: What's really funny about Guardians of the Milky way Vol. 2 is that they shot the whole opening sequence specifically to take the type in there, only it actually wasn't until towards the end of the process that we were brought in. I tin't call up exactly the schedule, just it was a few months to the terminate line.

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

Erin: Nosotros went out to run across the picture so we had a conversation with him afterward the film. That doesn't ever happen – it depends on schedule and availability – but we got to have a conversation with him. He was very specific nearly what he wanted, but was too open to other things. He was intrigued to hear what we thought because we'd been through the whole process with him once already and there was at least a basis for dialogue. At first he was thinking that information technology might exist a different typeface, just I was like "Ooh, but information technology'south branded!" [laughs] "Information technology's very of import! Simply we'll show you some options that aren't that"... but I was obviously going to push very difficult for information technology to be at least a version of the same typeface – something that at least nodded to what we did in the start one. It got there, but he did take to see it. He wasn't tied to it though, which was kind of absurd.

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

—Erin Sarofsky

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

Erin: Then we had a big round of visual exploration, similar we ever do. Hither's a bunch of ideas! What if nosotros congenital off the typeface we created from last time? What if we rendered it a bunch of different means? Here'southward some flat options, some 3D options, some in the space, some not in the infinite. We went through that artistic process with them. It was every bit big an endeavour as information technology would be with a total chief-on-stop, but it'due south just a piddling more than microscopic in terms of the bodily letterforms and things similar that. It's dainty to be able to focus on type in that kind of a mode.

Then it sounds like you didn't take to pitch on this projection as might unremarkably be the case...

Erin: In this instance we were the but people brought in, but typically in the Marvel infinite nosotros do have to pitch every time. [James] really liked where we were at on the first i and our ability to practise "uncomplicated". He knew that it was going to take to exist actually uncomplicated. 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 at that place, merely we didn't meet whatsoever of the stuff in the groundwork. He was the only one who knew how far information technology was going to become – and nobody else probably.

Guardians of the Galaxy Vol. 2managing director James Gunn on fix with histrion Michael Rooker.

Arslan, could you tell u.s. most Framestore'due south primary role on Guardians of the Milky way Vol. 2?

Arslan: We were tasked with creating the principal assets of the evidence and distributing them to other vendors. We recreated Rocket with a better costume, hair simulation and facial expressions. We likewise created the Infant Groot asset, model, rig, and find his character through exploration of the performance, how human he is, how child-like or not.

Too creating the master characters we were tasked with approximately 600 shots. These included the moving picture's m opening scene, Ayesha's lair, the space chase, and the Eclector scenes when Rocket, Infant Groot and Yondu are imprisoned in the ship.

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

Arslan: By the time I joined the prove in that location was already a very detailed previs done by The Tertiary Floor. All the camera moves were established and roughly what was happening in the background. Groot'southward performance wasn't there, obviously. Information technology was a stick figure moving in a cycle. The large affair for James was in that location is this massive fight going on in the background and Groot isn't even aware of it. He is in his own world. 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. It paid off massively.

Erin, what did that first version of the opening y'all saw look like?

Erin: Information technology was a very heavily visual effects sequence. All the characters were shot confronting green screen doing their wire piece of work, 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 animate being in very crude form – all of the main elements were in at that place. But they had the people cutting out as they're flight around and sometimes you still saw the wires. There were two shots that were pretty finished-looking because by that point the trailer was out. So those ii little chunks were there, only even then they changed those shots – they were still working on them. Just because it's in the trailer doesn't mean it's finished!

Guardians of the Galaxy Vol. 2 (2017) teaser trailer

Arslan: There are simply small bits of real footage. When Quill falls on the footing and shoots adjacent to Groot dancing, and when he says "Groot!" and so gets smashed by the tentacle of the Abilisk – that's existent. Gamora talking to Groot before flying off is real. And Drax rolling in and stopping behind Groot is existent. Only a few elements, actually. The majority is CG and digital doubles. For instance, when Drax falls on the speakers we ended up using CG Drax because for purposes of interaction and animation it was but easier.

Erin, it seems similar being able to focus just on the typography would be less work for your squad, just you had to arrive work in this larger context with so much happening in the groundwork. Was that a claiming?

Erin: Completely! That was a huge obstacle. All the [visual effects] piece of work that Framestore did was obviously incredible, only a lot of the piece of work that we saw when we did our initial first laissez passer 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 nosotros got from them had more and more and it was similar, "Oh, well I guess the type can't go in that location… or at that place." [laughs] Or it was similar, "Oh shit! Nosotros have to rethink our type completely considering there's now all of this colourful, effervescent plasma that'southward spewing everywhere." So it continued to be a moving target. They're figuring out the process too, and so if anyone is going to exist the one reacting and changing, it's united states of america.

Were all the Baby Groot dance moves already figured out?

Erin: Oh yeah! It was blocked out. At that place was no Sean Gunn dancing or annihilation similar that, but it is James Gunn dancing and then they modeled information technology around him. He does the dance and Babe Groot gets blithe based on that.

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

Arslan: James is an amazing director. He is really invested in his movie and his characters. He did this piddling dance at the finish of Guardians of the Milky way for Babe Groot in post. He generously did the aforementioned for this massive shot. He danced out the whole sequence. Nosotros had to change some parts of it to brand it work with the camera speed or the specific moments, only he was the soul of it and a big inspiration.

We had to modify some parts of it to brand it work with the photographic camera speed or the specific moments, just he was the soul of information technology and a big inspiration.

—Arslan Elver on James Gunn'due south dance moves

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

Arslan: Nosotros didn't motion capture it though, because mocap creates a feeling of a human under the skin of Groot. He wouldn't be able to do such circuitous motions similar a human would, so we carefully analyzed his performance and animated by hand a fully keyframe Babe Groot.

Then aside from Groot, how does production on a big, complex VFX sequence like this typically kickoff? Tin yous walk us through how it gets from a page in the script to something that begins to resemble the final product?

Arslan: There is a script of grade, but a sequence like this actually starts to flesh out with previs. James worked with the previs team based on the vocal he chose in great detail. After many iterations they get a version James is happy with. That previs then came to the states. We looked at it and since information technology'south one single shot it would have been incommunicable for one person to animate the whole thing or light it or comp it. And so nosotros split that one long shot into eleven pieces. Nosotros tried to choice the places that made sense for an easy 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 at present.

Arslan: The next footstep is to start to cake out the performance of Groot based on the cameras choreography. Since the geographic position of Baby Groot is very important, the challenge was not only create a great performance but as well brand sure he ends upwardly in the right places based on the previs and camera moves. Then nosotros finesse the performance and finesse the hookups between the 11 shots, not only for Groot but also for the background action. It was a massive claiming to animate so many things in ane single continuous shot.

It was quite a circuitous affair, really. Not only for animation simply for fabric simulation, for FX, and for compositing. Every department had to deal with this, which takes time so it puts extra pressure on the schedule. Every bit usual comp likewise helped a lot to cover some issues and make it look seamless and awesome.

Erin, what did the nuts and bolts of production wait like on your side? What were the first steps?

Erin: Pattern. Always design. They'll transport united states of america the opening, wherever it is at the time, and we start laying type on top of information technology, doing some motion tests, and just kind of getting a vibe for all the different directions they could take information technology. For Vol. 2 we really focused on 3 areas: one was doing 3-dimensional type 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 top then nosotros looked at some flat type brought on by dimensional things. So similar creating a little hovering character that projected a hologram up on the screen, something completely out of the box. They were like, "Holy shit, that's cool!"

Guardians of the Galaxy Vol. two (2017) early championship design concepts

Erin: I idea that had a real chance of living. It was an interesting, innovative solution. Information technology was completely left-field. We talked nearly the 3D blazon in the space, we talked about simple 2D type, and then nosotros came up with three or four other ideas for how to handle it. He looked at that, got really interested in that, and then it started to dawn on him that that would hateful we'd take another character in the sequence. This little hovering thing, large or minor or floating around, whatever class it takes on, it'due south another graphic symbol. What's cool about it is that information technology could wing away from the activity, you know? Information technology could move to the side and accommodate whatever animation that Framestore was doing. It was a clever idea, but and so he started worrying about having to deal with another character in a complicated scene. So the whole process became 1 of simplification. How little can nosotros do to mess with this fun narrative that's already going on?

So you ended up settling on the 2D solution for most of the sequence with the exception of the title carte du jour reveal, which actually interacts with the scene in a cool way. Could yous tell me a bit virtually that element of the sequence?

Erin: That was a cool process because that had to physically be in the space. We designed the typeface, we extrapolated it out, we modeled information technology, we did render tests and texture tests, and book frames, and then ultimately we took all of our models and assets and handed them off to Framestore to actually put into the scene. So it'south rendered into the scene!

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

Arslan: The freeze-frame was James' idea but it wasn't actually fleshed out in previs. He was bang-up to see dissimilar versions of the shot and he liked the freeze-frame version and then we ended up doing it. We got the model from Sarofsky and practical our shaders. The gold material of the platform was added and placed into the animation scene. One nice touch was the "Vol. 2" part of the title carte du jour. It plays like a neon tube and the lighting of that interacts with the environment and Babe Groot. It was a prissy touch.

Erin: We worked with all of their working files, which they'd sent to us, and we congenital in their environments so everything was exactly to scale. We'd transport them tests and they'd review them and be like, "Actually, information technology'd exist absurd if your files were a lilliputian bit more than like this!" We would accommodate. So when they got our piece of work it was basically merely plopped right into their earth.

Is that an unusual procedure for you lot guys to mitt your work off similar that?

Erin: Yes! [laughs] On the master title side for sure because usually it'southward all in our world. Sometimes we deliver titles to Technicolor to go on height 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 like we handed off a 3D model and were like, "Texture information technology withal you want information technology!" 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 identify and approved, and their pipeline was more than challenging than ours. We wanted to exist as accommodating as possible to be able to address James' notes only also make sure that we weren't messing with annihilation they were doing. We were trying to treat them how we would desire to be treated in that situation.

The Guardians series is unique amid Marvel movies in that they feature elaborate opening credit sequences – most other films in the franchise forego an opening in favour of a strong master-on-end title sequence. Could you lot talk well-nigh James Gunn's approach to these sequences in your conversations with him and how it might differ from the other directors you've worked with?

Erin: He writes it into the script. I think he'southward the just director that nosotros work with who does that. He literally wrote this sequence as a bed for main titles. He as well puts the music in the script. There'due south a musicality to all of his work. That'due south a large part of the tone of the Guardians movies and I think part of why people love them so much.

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

Erin: It'southward completely different when you're walking into something that is already planned versus a situation where you're just told, "I don't know! Show us some absurd stuff and we'll option." Totally different. He'south not a typographer or a traditional designer, but he certainly has a very specific indicate of view when it comes to the design of this. He definitely knows what he wants – and he knows what he doesn't desire. We could show him the coolest-looking matter and be like, "He'southward gotta bite on this!" He wants the elementary thing. He'south the i with the vision for what it'due south going to look similar all the way through.

Is there a specific chemical element or moment in the primary title that yous're near happy with?

Erin: I'g merely happy that they fit into the tone of the movie. They're really fun, but I'm really proud that they didn't get in the style of anything to be honest. At that place were a lot of solutions that could accept been also much, just we erred on the side of simplicity and that served the larger purpose in that location.

Arslan, practise you lot have a favourite moment or element that y'all're almost happy with?

Arslan: That'south similar asking, "Who is your favourite child?!" To exist perfectly honest, it's the whole of it. There is so much fun stuff and contrast in that long shot. It took months to become it washed and it was worth equally of sweat and blood.

OK! So let's talk well-nigh the end championship and the crawl.

Erin: Yes! That'southward our first ane ever.

Guardians of the Galaxy Vol. 2 (2017) finish title sequence including crawl and stingers

The "Guardians of the Galaxy Will Return" is obviously prissy nod to James Bond, simply tell u.s.a. well-nigh some of your inspirations for the lasers carving out the type.

Erin: It was stuff from the movies! We evidently took the typeface from the offset and we wanted it as this outline, but the question and so became "How can we bring this on in a cool way?" I want to say "PEW PEW!" but that's Star Wars, but this was pulled from the film, the ships and their lasers. And so we kind of matched that. We thought they were going to want to do something a lot simpler, so nosotros called this handling "Crazy Lasers". [laughs] "Crazy Lasers" is the treatment and that's what it was called the entire fourth dimension.

Nosotros didn't know what the all-time approach was. The cease of the movie with Rocket crying was but so emotional, and so I but did non think they'd go with "Crazy Lasers" in a million years. I thought they were going to want to ease y'all into it. But they bellow right into that fun music to snap you out of information technology. They obviously had the vision to understand that, but we wanted to provide options. In editorial they put things in and see what feels correct, and "Crazy Lasers" for the win!

Now with so many stingers – the after-credits scenes – does that throw a wrench into what you guys take to produce? Do yous have to produce more content for the clamber in that case?

Erin: It is a major wrench! It is the ballsy wrench. When we were presenting our solutions for the chief title, we were in at that place with Victoria Alonso and James and Kevin Feige and Louis D'Esposito – all these really impressive people – and I say we're done. I'g going to become up and say "Okay, cool then we have our management!" "No, no, we desire to talk to you about something else. Nosotros want you to recollect about doing the terminate crawl." I was but like "No. No, no, no, no, no! We're not doing an stop crawl." Everybody was just kind of looking at me like I'm totally bananas. But then Victoria suggested that we have Infrequent Minds continue to prepare the type in whatever style you dictate. They're this great visitor out in Los Angeles – they're more of a university actually – that helps kids on the autism spectrum find work in mail-product. Victoria is very committed to making certain they have work. It's really great!

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

Erin: The idea was to have Exceptional Minds set the type and nosotros'd do the pattern. The problem as they explained it was that they had all these tags and were adding more, and they needed a design solution that was going to keep people in their seats. That was the coolest thing I'd always heard. So we started talking about it a little more, they told me what the tags were, and sent a couple over that they already had, and and then we started designing and coming upward with solutions for what this finish crawl could be. Information technology'due south thousands of people'southward names! Thousands of names.

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

Erin: Yeah, then 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 upwards with the formula for how it should expect and then they set all the type and provided renders to usa. We'd and then put that into our pattern. The process with Infrequent Minds was that they gave us white blazon on black, just scrolling, and then we put it into the bigger design and delivered information technology to Marvel.

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

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

There is a vibe to it where information technology feels like '70s anthology art 100 per cent.

—Erin Sarofsky

Guardians of the Milky way Vol. 2 (2017) end crawl concepts

And you've besides packed in all these little details and blink-and-you lot'll-miss-it gags. Were those dancing characters shot or created specifically for the end crawl?

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

Yeah, it's got that whole Boomerang effect to a lot of the motion!

Erin: Totally! And we also had the flashing blazon that started out as "I am Groot" and and so changed to people's names. My big matter that I think that Kevin liked for certain and James got obsessed with was like "What else can nosotros put in here? What are these Easter eggs that we can use to keep people in their seats?" It became their obsession all the way to the very end.

Guardians of the Galaxy Vol. 2 (2017) end crawl excerpt

Do you accept a favourite Easter egg or moment from the cease crawl?

Erin: I love that row in the blue world where they're all dancing. I think that'south so fun. Yous've got Mantis in there, Rocket'due south in in that location – Rocket is dancing so somebody had to breathing that for us! "We'll call so and so and have them animate Rocket for you lot." Simply to make a little gif. Rocket was created for u.s.a.. We didn't have him dancing until the very end. They also must have been shooting Thor: Ragnarok at the same time because they were able to get footage of Jeff Goldblum dancing. He'due south in i of the circles!

And Howard the Duck!

Erin: Yes! Of course.

Howard the Duck'due south brief advent in the Guardians of the Galaxy Vol. two terminate crawl

Arslan, did Framestore do any piece of work on the characters in the end crawl or stingers?

Arslan: Yes. We were tasked with the adolescent Groot shots. James' brother Sean played him on prepare and we used his performance for inspiration. Groot is playing some space video game and is existence dismissive, like everyone is at that historic period. It was quite a fun thing to animate!

Erin, would you do an stop crawl once more?

Erin: They're so long! Honestly, we knew it was going to exist more piece of work than nosotros thought it was going to be because of their pipeline. When they do something they are all in! It was no joke, until the very finish we were consistently working on information technology. Nosotros knew information technology would be absurd, but nosotros besides knew information technology was going to be a giant challenge. And it's stuff you wouldn't necessarily see on screen. For example, if iii names are added to it, it's going to change the timing of the whole section in between the tags.

And is there a specific element or moment in the end clamber that you're about happy with?

Erin: With the cease clamber I'thou but glad nosotros gave people some entertainment while they were waiting for their absurd tags. Yous go from a principal title, which is substantially a legal document but can be very artful, to an cease crawl, which is similar reading a contract. My god! Unless your name or your kid'southward name is in it, there'southward a pretty good chance you're not reading it! Then to requite people a reason to look through information technology, to express mirth and be engaged with it was really cool. I'm really proud of that.

Then are you gear up to tackle another finish crawl after this project?

Erin: I very well might say thanks but no, merely I would at least hear them out. I wouldn't get up and attempt to exit! [laughs]

View the credits for this sequence

Client: Curiosity Studios
Film Director: James Gunn
Curiosity Studios Executive Producers: Kevin Feige, Louis D'Esposito, Victoria Alonso
Marvel Studios Mail Producer: Jennifer Bergman

Main Title Sequence
Production Visitor: Sarofsky
Lead Creative: Erin Sarofsky
Executive Producer: Steven Anderson
Producers: Erik Crary, Sam Clark
Visual Effects Supervisors: Matthew Crnich
Post Product 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 Furnishings Producer: Sophie Carroll
Visual Effects Co-Supervisor: Patric Roos
Visual Furnishings Executive Producer: James Whitlam
Animation Supervisor: Arslan Elver
CG Supervisors: Sylvain Degrotte, Andy Walker
Compositing Supervisor: Matthew Twyford

Stop Credits and Clamber
Production Visitor: 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
End Clamber Typography Layout: Exceptional Minds
CG / Finishing Artist: Cory Davis
Finishing Banana: Erik Uy

Music:
"Mr. Bluish Sky"
Written by Jeff Lynne
Performed past Electrical Light Orchestra

"Give up"
Written by Rick Nielsen
Performed by Cheap Trick

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

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

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

Back up FOR ART OF THE TITLE COMES FROM LENS DISTORTIONS

Cinematic effects for filmmakers, editors and VFX artists.

Featuring overlays fabricated 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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