A clue you missed in The Avengers: Endgame
The Avengers Endgame has cracked the box office of western cinema wide open. In only a number of days, it became the biggest blockbuster that Hollywood has ever seen. The movie was a subtle combination of vengeance, heroism, war, friendship and even love. If you watched it with utmost dedication, you would have seen how the movie was associated with a lot of aspects from the previous MCU successes. However, are you sure you did not miss out on anything?
The Avengers Endgame: Let us dig in
The movie was solely based on a timeline of each avengers’ life and how they had to use events from their past to defeat Thanos- a major threat- in the present. If you watched closely, it very cleverly incorporated parts that clued the audience to other aspects of the franchise.
As the war progressed in the movie, additional heroes jumped in to defeat Thanos using portals. It was an absolutely jaw-dropping scene where the setting was full of Doctor Strange’s “sparkly things” (as Peter Parker likes to call it). As beautiful as the scene was, did you look at the insides of each portal?
Link to Guardians of the Galaxy Vol.2
If you looked closely, the insides of each portal had a valid environment in it with respect to the character that jumped out of it. There was Wakanda, New Asgard, Titan, Kamar-Taj, and most importantly, Contraxia.
Let us refresh our knowledge. Contraxia is a cold and icy planet where ravengers went to relax. Subsequently, it is also the very setting of the movie Guardians of the Galaxy Vol 2. However, the environment was not filmed. It was entirely computer generated, just as the rest of the portals were.
Why was it CG?
Before you get disheartened, you should know why this was done. As Aikten informed, the reason why the portal had to be CG was because of a common camera. “They had to be CG because we are, essentially, filming those environments with the same camera that we’re running on the compound, the battlefield side of the portal. So that as the camera’s moving back in these big, dynamic, sweeping camera moves, we want it all to feel like the parallax is correct and everything’s locking together so that there’s a connection between what’s on this side of the portal and what’s inside the portal,” Aikten explained.
