To make this sequence possible, I painted a forest to be used in a stand-alone shot for the forground building. I also provided a 360 cyclorama for this entire sequence. In this case, it was Doc Ock’s secret laboratory. When the painting is complete, I save project it onto a 3D card in Nuke and publish the beauty pass so that Lighting and compositing can pick it up and integrate it into the forground action. At this stage, lighting spends countless hours tweeking and adjusting the entire scene to the visual effects art director’s liking. It’s a very subjective process and many creative people get involved until it’s approved by the director’s of the show, Phil Lord and Chris Miller.