The VFX supervisor for ‘Spider-Man: Brand New Day,’ Jerome Chen, revealed at the View Conference in Turin that the film’s visual effects team completed nearly 2,000 shots in just 24 weeks of post-production, including a remarkable week where they delivered 445 shots. Chen compared this to his first film as a supervisor in 1999, which had 450 shots total and took two years to complete. He noted that about three-quarters of the VFX work was delivered in the final six weeks, intensifying an already demanding schedule. The production, filmed primarily in the U.K. with Pinewood Studios, London, and Glasgow doubling for New York, required extensive digital work to transform the locations into New York City. The team preserved usable street-level photography and digitally replaced or extended elements above the street, such as traffic signals, scaffolding, water towers, and power lines, while removing British curb markings. Chen also discussed the redesign of Mark Ruffalo’s Hulk, which featured a more savage, telepathically controlled appearance with adjusted proportions, muscular definition, hair color, and hand and foot size. The team consulted Marvel Studios president Kevin Feige on Hulk’s franchise evolution and paid attention to details like toenails and skin reactions to lighting. A climactic energy wave involving Jean Grey initially resisted the use of rainbow-like chromatic aberration, but Chen later embraced the established visual vocabulary. He admitted the scene was the film’s weakest part. Chen emphasized that time constraints often determine VFX quality more than artistic ability, noting that rushed deadlines lead to subpar results. The final challenge was a minor sweat stain under Spider-Man’s arm, which was fixed in 47 minutes by a small team at Marvel’s Burbank offices. Chen warned that finishing the film so quickly might set a problematic precedent for the industry, as it proves that tight schedules are possible but may lead to unsustainable practices.