Charlie Noble talks about his role in Captain America.
from the The Art of VFX article:
How did you get involved on this project?
Following on from our work on IRON MAN 2 (the vintage F1 Monaco Grand Prix sequence) we were approached mid-2010 to bid on 700 or so shots for CAPTAIN AMERICA. The work was divided between London and our Singapore studio with the bulk staying in London. It was also good to work with Joe Johnston again after THE WOLFMAN last year.
How was the collaboration with director Joe Johnston and Production VFX supervisor Christopher Townsend?
We actually had relatively little direct contact with Joe. Everything came through Chris and after the UK shoot we were in constant contact via Cinesync most evenings. I can’t praise Chris enough; he was so helpful and gave great notes. He’s done an amazing job on this show. Joe did manage to pop in to Double Negative whilst in London working on the score and as someone with such a wealth of experience he clearly knows his visual effects. It’s been a pleasure working with him again.
What sequences have you made on this show?
The Crypt (Schmidt finds the cube), Schmidt’s office (testing the cube, gun-firing, Nazi deaths), Hydra factory interior and exterior, the train, commandos attack Schmidt’s office, Hangar and Runway, bomber and podfighter aerials (exterior and interior), the Arctic crash and the shots where the cube goes nova.