Though audience members might not realize, they're watching AI agents, with different fighting styles and weapons going up against each other -- some with swords, some with shields and spears, some airborne with sparks flying from their hands.
To create distinctive battle patterns for the different groups, Weta relied on motion capture, allowing Massive to give each agent an arsenal of moves to choose from.
Not only are all the fighting styles different, the agents are different. Back in the Lord of the Rings days, Jon Allitt, head of the crowds department at Weta Digital, created a tool in Massive called Orc Builder, that could randomly generate different variations of orcs based on characteristics like height and limb length. Orc Builder is now called Body Page, and it worked the same way in Endgame.
"Visual effects, at its very core, are not about being a perfect simulation of reality. It's about making you believe it," says Gray Marshall, industry veteran and chair of the department of visual effects at the Savannah College of Art and Design.
Regelous, still helming the company, says he's always trying to figure out how to keep moving forward. That might mean giving filmmakers the ability to see special effects almost immediately during production. The Mandalorian, for example, made headlines when it premiered using Epic's Unreal Engine's real-time rendering to create immersive, computer-generated sets. So instead of inserting CG environments into green-screen footage after the fact, it happens during filming.