Visual effects for the film were created by DNEG, Scanline VFX, Method Studios, Luma Pictures, Lola VFX, Industrial Light & Magic,[69] Cinesite, Rise FX, Rodeo FX, Crafty Apes, Perception NYC, Digital Domain, and The Third Floor.

DNEG worked on over 500 shots, including the effects for Ghost—which were shared with the other vendors—the third act chase sequence, and the final Ghost fight as Hank and Janet are returning from the quantum realm. For the "macro-photography" sequences in the film, DNEG took a different approach from their work in Ant-Man due to issues including trying to get a camera to seem small enough to capture the small actions. Though some of the film was shot with a Frazier lens that provides extra depth of field, DNEG would still need to "re-project the road higher and "raise the floor level" to simulate a tiny sized camera". As the third act chase sequence was mainly shot in Atlanta, while being set in San Francisco, DNEG VFX Supervisor Alessandro Ongaro noted it required "extensive environment work" with background elements in some shots not being salvageable at all. DNEG ultimately created 130 unique environments for the chase. Clear Angle aided DNEG with the Lidar surveying and photography of San Francisco, and were able to get their information for Lombard Street down to the millimeter resolution.

Lola once again worked on the de-aging sequences with Douglas, Pfeiffer, and Fishburne. The flashback sequences featuring a younger Hank Pym were set around the same time as the flashback sequences of Ant-Man, so Lola were able to use a similar process, referencing Douglas' appearance in Wall Street (1987) and having the actor on set in a different wardrobe and wig. Lola VFX Supervisor Trent Claus felt Pfeiffer's was less complicated, since "she has aged incredibly well" and still has big hair and a big smile. Pfeiffer's work from Ladyhawke (1985) and other films around that time was referenced. For Fishburne, his son served as his younger double, and helped inform Lola how the older Fishburne's skin would have looked in certain lighting situations. The films Lola looked to for Fishburne's younger self included Boyz n the Hood (1991) and Deep Cover (1992). Lola also made Fishburne thinner, and all actors had their posture adjusted.

Luma worked on the scenes where Ant-Man and the Wasp infiltrate Ghost’s hideout, where they had to recreate the entire environment with CGI. They also created the first quantum tunnel sequence where Ghost receives her powers, and the flashback missile launch, which had to be replicated exactly from how it appeared in Ant-Man. The new version of the quantum realm, designed by Reed and production VFX supervisor Stephane Ceretti, was created by Method. Method Studios VFX Supervisor Andrew Hellen, explained, "We did a lot of research into macro and cellular level photography, and played with different ways to visualize quantum mechanics. It has a very magical quality, with a scientific edge. We also used glitching effects and macro lensing to ground the footage, and keep it from feeling too terrestrial." Method also worked on the sequence when Lang is the size of a preschooler, and created the digital doubles for Ant-Man and Wasp; Method used the same level of detail on the digital double suits regardless of what scale they were.


Have a look at this VFX Breakdown by Luma Pictures about their work on ANT-MAN AND THE WASP:

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