The Marvels was enormous — probably the largest-budget production I have ever worked on, and certainly one of the biggest in terms of the sheer scale and complexity of the Special Effects operation.

This was Marvel filmmaking at full size. We had multiple large motion-base gimbals and mechanical rigs running across the production, often creating movement for substantial set pieces while allowing Camera, Stunts and VFX to build their respective elements around something that was actually happening physically on the stage.

One of the more unusual effects was creating rain that appeared to fall upwards. Rather than leaving the whole thing to VFX, we developed a practical system that allowed us to produce the reverse-rain effect physically in camera. It was exactly the sort of strange technical problem that makes these films interesting — taking something that can't happen naturally and finding a mechanical way of making it happen for real.

We also worked very closely with the Stunt department throughout the film. A lot of our work involved designing and building platforms, launch systems, mechanical rigs and other pieces of equipment that allowed performers to jump, spring, fly or be propelled through the action, while keeping the movement controlled and repeatable enough for multiple takes.

On a production of this scale, Special Effects becomes deeply integrated with almost every other department. Stunts, Camera, Construction, VFX and SFX are constantly overlapping, and some of the most satisfying work comes from solving those problems together rather than any one department working in isolation.

I also developed a really nice working relationship with Nia DaCosta, our director. We got on well and I always felt there was a good level of trust between us, which becomes particularly important when you're dealing with complicated practical effects and large mechanical sequences.

Whatever you think of the finished film, from a Special Effects point of view The Marvels was a huge engineering and logistical undertaking — large motion bases, physical interaction with performers, unusual practical effects and an enormous amount happening simultaneously across the stages.

Definitely one of the biggest jobs I have ever been involved with.