Development In June 1992,
Wesley Snipes announced his intention to make a film about
Black Panther, and began work on it by that August. Snipes felt that Africa had been
portrayed poorly in Hollywood films previously, and that this film could highlight the majesty of the continent due to the title character being noble and "the antithesis of [African] stereotypes". The next July, Snipes planned to begin
The Black Panther after starring in
Demolition Man (1993), and a month later he expressed interest in making sequels to the film as well. In January 1994, Snipes entered talks with
Columbia Pictures to portray Black Panther, and Black Panther co-creator
Stan Lee joined the film by March; it entered early development by May. Snipes had discussions with several different screenwriters and directors about the project, including
Mario Van Peebles and
John Singleton. When the film had not progressed by January 1996, Lee explained that he had not been pleased with the scripts for the project. Snipes said that one of the issues with the project's development was confusion among those unfamiliar with the comics, who thought the film was about the
Black Panther Party. In July 1997,
Black Panther was listed as part of
Marvel Comics' film slate, and in March 1998, Marvel reportedly hired
Joe Quesada and
Jimmy Palmiotti, who at the time were editors of the Black Panther comics, to work on it; Quesada and Palmiotti have both denied this. That August, corporate problems at Marvel put the project on hold. A year later, Snipes was set to produce, and possibly star, in the film, while
Artisan Entertainment announced a deal with Marvel in May 2000 to co-produce, finance, and distribute the film. In March 2002, Snipes planned to make the film or
Blade 3 (2004) over the next year. In July 2004,
Blade 3 director
David S. Goyer stated that he felt Snipes starring as Black Panther in addition to Marvel's
Blade "might be overkill". In September 2005, Marvel chairman and CEO
Avi Arad announced
Black Panther as one of ten films being developed by the new
Marvel Studios. Marvel Studios received financing to produce the slate of ten films to be distributed by
Paramount Pictures. In June 2006, Snipes said he hoped to have a director for the project soon, and Marvel Studios president
Kevin Feige reiterated in February 2007 that
Black Panther was in development. By that July, Singleton had been approached to direct the film. Two months earlier,
Fantastic Four (2005) director
Tim Story expressed his interest in casting
Djimon Hounsou as Black Panther if he were to direct another
Fantastic Four film after
Fantastic Four: Rise of the Silver Surfer (2007), but a third
Fantastic Four film helmed by Story went unproduced. In March 2009, Marvel hired writers to help come up with creative ways to launch its lesser-known properties, including Black Panther; Nate Moore, the head of the writers program, was overseeing the development of
Black Panther specifically. Snipes's involvement stalled at this time, as he was convicted of failing to file a tax return, serving his sentence from June 2010 to April 2013. In January 2011, Marvel Studios hired documentary filmmaker
Mark Bailey to write a script for
Black Panther, to be produced by Feige. By October 2013, the metal
vibranium, which comes from Black Panther's home nation
Wakanda, was introduced in the
Marvel Cinematic Universe; Marvel had considered showing Wakanda itself as early as
Iron Man 2 (2010), but were waiting until they had "a full idea" of how to depict it. In October 2014, Feige announced that
Black Panther would be released on November 3, 2017, with
Chadwick Boseman cast as T'Challa / Black Panther. Boseman did not audition for the role, instead discussing what he wanted to do with the part with Marvel, and earned $2 million for appearing in the film. The actor was set to first portray the character in
Captain America: Civil War (2016). Snipes gave his support for the project, despite no longer being involved. Feige said that Marvel was considering minority writers and directors for the film, but would prioritize "the best filmmakers, the best writers, the best directors possible. So I'm not going to say for sure that we're going to hire from any one demographic". He added that they had met with former
Black Panther comics writer
Reginald Hudlin. In January 2015, Boseman said that the film was going through a "brainstorming phase", and the next month Marvel pushed back the release date to July 6, 2018. Also in February, Feige stated that casting for the film was underway, and added that he was set to meet with directors about the film following the release of
Avengers: Age of Ultron (2015) at the end of April. By May 2015, Marvel had discussions with
Ava DuVernay to work on either
Black Panther or
Captain Marvel (2019) as director. In June, Feige confirmed that he had met with several directors, including DuVernay, and said that he expected a decision to be made by mid- to late 2015. By early July, DuVernay had passed on directing the film, explaining that she had been drawn to the cultural importance of depicting a Black hero to the whole world, but disagreed with Marvel on the story and did not want to compromise her vision. By October 2015,
F. Gary Gray and
Ryan Coogler had been considered as directors for the film, though negotiations with Coogler had cooled, and Gray had chosen to direct
The Fate of the Furious (2017) instead.
Joe Robert Cole, a member of the Marvel writers program, was in talks to write the screenplay, and Marvel changed the release date once again, moving it to February 16, 2018. By December, discussions with Coogler were reignited after the successful opening of his film
Creed (2015).
Pre-production Coogler was confirmed as director in January 2016, and said that the film was his "most personal movie to date" in part because he grew up reading comics, adding, "I feel really fortunate to be able to work on something I'm this passionate about again." After being "wooed" by Feige for months, Coogler agreed to direct the film if he could bring collaborators from his previous films to differentiate the film from other MCU films that are often "shot, composed, and edited by the same in-house people". This included
Fruitvale Station (2013) cinematographer
Rachel Morrison, as well as production designer
Hannah Beachler and composer
Ludwig Göransson, who both worked with Coogler on
Fruitvale Station and
Creed. Coogler felt
Black Panther would be unique while still fitting within the MCU's overall narrative. In April 2016, Feige said that Coogler was working on the script with Cole, and that filming would begin at the beginning of 2017. He added that the film would be the first Marvel Studios production to feature a "primarily African-American cast":
Lupita Nyong'o soon entered negotiations to star as T'Challa's love interest, and
Michael B. Jordan joined in an undisclosed role, after previously working with Coogler on
Fruitvale Station and
Creed. Nate Moore, serving as a producer on the film by the end of May, stated that filming would occur in Atlanta, Georgia, with Marvel "definitely investigating shooting in Africa" as well. At
San Diego Comic-Con 2016, Nyong'o was confirmed for the film, in the role of
Nakia, while Jordan's role was revealed to be
Erik Killmonger. Also announced was
Danai Gurira as
Okoye. Coogler confirmed that filming would begin in January 2017. Additional casting occurred from September 2016 until the start of filming, with
Winston Duke cast as
M'Baku, a role that
Yahya Abdul-Mateen II had also tested for as well as
Michael James Shaw, who was later cast as
Corvus Glaive in
Avengers: Infinity War (2018) and
Avengers: Endgame (2019), out of interest of visiting
Africa before passing on the role;
Forest Whitaker as
Zuri;
Daniel Kaluuya as
W'Kabi;
Angela Bassett as T'Challa's mother,
Ramonda;
Sterling K. Brown as
N'Jobu; and
Letitia Wright in an unspecified role, later to be revealed as
Shuri.
Dominique Thorne, who would go on to play
Riri Williams / Ironheart in the sequel
Black Panther: Wakanda Forever (2022), also auditioned to play Shuri.
Florence Kasumba was revealed to be reprising her role as Ayo from
Captain America: Civil War.
Amandla Stenberg, who is biracial and light skinned, was considered for a role in the film but was not comfortable taking the place of a dark-skinned actor, and described her decision to pass on the role as "really challenging". By January 2017, Marvel received permission from the
Oakland, California–based public transit agency
AC Transit to use their logo in the film for the opening flashback sequence. The setting was chosen due to Coogler growing up in that area.
Writing The production team was inspired by
Ta-Nehisi Coates's run on
Black Panther, who was writing the comic at the same time as they were working on the film. Of particular inspiration was Coates's poetic dialogue,
Brian Stelfreeze's art, and "some of the questions that it's asking". The film was also inspired by the comic runs of
Jack Kirby,
Christopher Priest (which Coogler felt most influenced the film),
Jonathan Hickman, and Hudlin. Characters for the film were picked from throughout the comics based on what worked for the film's story. The ceremonial betrothal aspect of the Dora Milaje was not adapted from the comics for the film. Coogler had hoped to include
Spider-Man villain
Kraven the Hunter early in the process because of a scene in Priest's run that had T'Challa fighting Kraven, but the rights to the character were not available due to
Sony Pictures owning all rights to Spider-Man characters.
Donald Glover and his brother
Stephen made some minor contributions to an early draft of the script, developing the relationship between T'Challa and his younger sister Shuri. Moore noted that an early script had more scenes outside of Wakanda to explore "what it means to be African and African-American in the world a bit more", and hoped these could be revisited in a later film, particularly a "super cool" sequence that was
storyboarded before being cut. Coogler and Robert Cole had considered including the
Golden Age black hero
Eli Bradley / Patriot for a while, but they ultimately excluded him to focus on Wakanda. Eli Bradley was eventually featured in the
Disney+ miniseries
The Falcon and the Winter Soldier (2021), portrayed by Elijah Richardson. Feige described
Black Panther as "a big geopolitical action adventure" that focuses on family and T'Challa learning to be king, with
Civil War laying the groundwork for T'Challa's morality and establishing the geopolitical landscape that he would have to deal with on returning to Wakanda. Moore compared the politics and humor of the film to
Captain America: The Winter Soldier (2014), saying that the former would be inherent but not "preachy", and that the latter would avoid the tones of
Guardians of the Galaxy (2014) and
Ant-Man (2015). He also said the film would be a cross between
The Godfather (1972) and the
James Bond films as a "big, operatic family drama centered around a world of international espionage". Coogler was influenced by 1970s films such as the works of
Francis Ford Coppola in that decade, as well as crime fiction. He also watched the film
A Prophet (2009) for inspiration. Feige called the film's story "rich in culturally relevant ideas", with Boseman indicating there were parallels to "pull from" in the film in relation to
Donald Trump becoming
President of the United States after
Barack Obama, though Feige added that "these are conversations we were having two years ago because that is inherently the story within the comics." Moore said the film does not depend on the plots of any other MCU films, but it does affect the wider MCU moving forward, with Feige stating the film was "a very important" link to
Avengers: Infinity War (2018) and
Avengers: Endgame (2019).
Civil War did introduce the Wakandan language, based on the
Xhosa language, which Boseman was taught by
John Kani, who portrays T'Challa's father, King
T'Chaka. Additional actors portraying Wakandans in
Black Panther learned the language, with Coogler making the use of the language "a priority... as much as possible". Coogler tried to incorporate Xhosa "in natural and authentic situations", such as when multiple Wakandans were speaking in the presence of nonnatives and wanted to say something they would not understand. John Kani's son
Atandwa served as a dialect coach on the film along with his father.
Design Cole called the film an historic opportunity to depict a Black superhero "at a time when African-Americans are affirming their identities while dealing with vilification and dehumanization". It was important to root the film in the actual cultures of Africa, with the filmmakers consulting with experts on the region of Africa that Wakanda is supposed to be located in, rooting the film "in reality first and then build[ing] out from there". Coogler's vision for Wakanda was inspired by the southern African country
Lesotho, a country which has historically been "an enclave, able to protect its independence because of its terrain" and was only lightly
colonized by the British; the country's traditional blankets are also featured in the film. Coogler compared the rarity of vibranium existing only in Wakanda to the real-life mineral
coltan that can almost only be found in Congo. He wanted Wakanda to feel like a full country with multiple distinct tribes, and created a project bible that detailed each Wakandan tribe to guide the design process. Special care was taken to create a futuristic look that was not alien, as some of Jack Kirby's original comic designs appeared.
Sets Beachler wanted to honor the comic designs, but fill in the gaps with research concentrated on
Sub-Saharan Africa, pulling inspiration from
Uganda,
Rwanda,
Burundi,
Congo-Kinshasa,
Ethiopia, as well as the designs of
Zaha Hadid, and the pre-colonization architecture of the historic
Mali Empire and the city of
Timbuktu. Moore described this approach of taking inspiration from many different sources as a
love letter to Africa. Beachler looked at the architecture of existing tribes, and then tried to advance the technology naturally rather than if Wakanda had been colonized. Circular motifs, signifying the transmission of energy, were an important theme throughout the film. Older locations depicted in the film, such as Warrior Falls, the City of the Dead, and the Hall of Kings, were juxtaposed with the more modern
Afro-punk style of the Golden City, the capital.
Rondavels were incorporated into the tops of Wakanda's skyscrapers, inspired by the appearance of mountains at
Blyde River Canyon in South Africa. Beachler created different sigils and architecture for each of the Wakandan tribes, with the Border Tribe inspired by
Lesotho, the Merchant Tribe having a sigil based on
Nigerian writing, and the Golden Tribe using a sun symbol found throughout Africa. Gorilla City, home to the Jabari Tribe, was originally set in a rain forest, but Coogler suggested that it be found up a mountain in snow. Beachler based the written form of the Wakandan language on an old Nigerian language. She consulted with mining and metallurgy experts for the vibranium technology, including for the vibranium mine where the substance is depicted as glowing blue rocks before it is refined into the
stainless steel look previously seen in the MCU. The film also adapts the kimoyo bead technology from the comics, and features sand-based technology. Beachler wanted futuristic elements of the film to be consistent with projections of what real world technology may be like in 25 or 30 years, such as the
maglev and hovercraft technology used in vehicles. The Wakandan vehicles include a maglev train for carrying vibranium; the king's Royal Talon Fighter, which looks like a mask from the top and bottom; and the Dragon Flyer, inspired by the
Congo peafowl. The majority of Beachler's sets were constructed on sound stages in Atlanta, including the Tribal Council, Shuri's design space, and the Hall of Kings. The Tribal Council set was built with a glass floor through which an old ruin can be seen. The exterior set for Warrior Falls was built on a backlot north of Atlanta, and was inspired by the
Oribi Gorge. The set was , made up of a pool, and then cliff faces that were designed to be extended to with visual effects. A framework for the cliffs was hand-sculpted from industrial styrofoam, with a system of tunnels built-in to the design to allow extras to climb up to different areas of the cliffs. The framework was then covered with of foam that was sculptured to match rocks found at Oribi Gorge. The pool was filled using six large pumps, so as to create a waterfall above the ledge at the bottom. The base of the pool was made from padding so stunts could safely be carried out on the set, but designed to look like rocks and to have enough grip that the actors would not fall over in the water. The set was completed in four months, and was used for two weeks of filming.
Costumes Costume designer
Ruth E. Carter referenced the
Maasai,
Himba,
Dogon,
Basotho,
Tuareg,
Turkana,
Xhosa,
Zulu,
Suri and
Dinka people in her designs. She also examined appropriate works by Japanese fashion designer
Issey Miyake, French fashion designer
Yves Saint Laurent, and American fashion designer
Donna Karan.
Winnie Mandela provided inspiration to Carter for Angela Bassett's costumes. The Dora Milaje costumes primarily used red to reflect different African cultures, and included beaded tabards that feature talismans that would be passed down from mother to daughter. Carter wanted to avoid the "girls in the bathing suits" look, and instead have the Dora Milaje wear full armor that they would practically need for battle. She also had to take actors' stunt work into consideration. Anthony Francisco, the Senior Visual Development Illustrator, noted the Dora Milaje costumes were based 80 percent on the Maasai, five percent on
samurai, five percent on
ninjas, and five percent on the
Ifugao people from the Philippines. The arm band and neck rings were a reference to the
Southern Ndebele people and denote stature. As such, General Okoye has gold bands and rings while the other Dora Milaje wear silver. The costumes for T'Challa combined his role as king and as the head of the military, including combining a
kente cloth cloak with military boots. Carter also used distinct colors and patterns for each of Wakanda's tribes, such as green with shells for the River Tribe based on the Suri; blue with wood for the Border Tribe; black with royal purple for the Black Panther and the Royal Palace; plums and purples for the Merchant Tribe in reference to the Tuareg; and ochre for the Mining Tribe inspired by the Himba. Three out of every five people in Wakanda go barefoot. The Wakandans wear "normal" clothes outside of the country, with the colors of their costumes kept consistent. Overall, Carter created 700 costumes for the film, working with "an army" of illustrators, designers, mold makers, fabric dyers, jewelry makers and more. Hair department head Camille Friend referenced traditional African art, fabrics, hair, and textures, and the current-day natural hair movement in her designs. Friend strived to keep the actors' hair natural, using "braids, locs and twists", and when necessary, extensions and wigs. As with Carter, Friend designed each tribe to have their own identifiable aesthetic, such as the Jabari Tribe having hair styled with "very straight, clean lines" and war-paint detail, inspired by Senegalese warriors.
Filming Principal photography had begun by January 21, 2017, at
EUE/Screen Gems Studios in the
Atlanta metropolitan area, under the working title
Motherland. Filming also took place at
Pinewood Atlanta Studios, and in the
Sweet Auburn neighborhood in Atlanta, which doubled as Oakland; the
High Museum of Art, which served as the fictional Museum of Great Britain in London; and
Atlanta City Hall, which served as a United Nations building. Cinematographer Rachel Morrison, who was eager to work on
Black Panther after working with Coogler on
Fruitvale Station, first watched all of the other MCU films to understand the established "language". She wanted to "push" that language and feature more contrast in color. Visual effects supervisor Geoff Baumann provided Morrison with before-and-after shots of scenes from
Civil War so she could understand what elements are captured on set and what is created digitally. She filmed in 3.4K
ArriRaw with
Arri Alexa XT Plus cameras and
Panavision Primo lenses, primarily using a two-camera set-up with a third or fourth camera on occasion. Morrison said that lighting was her biggest challenge, the magnitude of which "was much bigger than I'd experienced before", and made extensive use of Arri SkyPanel
LED light fixtures, which she could preprogram from an
iPad. Some sets were completely surrounded by SkyPanels. Shortly after filming started, Atandwa Kani stated that he would appear in the film alongside his father, the latter reprising the role of T'Chaka, while on-set photographs revealed that
Martin Freeman would reprise his role as
Everett K. Ross. Marvel announced that production was underway on January 26, and confirmed the casting of Freeman, Wright, and John Kani, while revealing that
Andy Serkis would reprise his role as
Ulysses Klaue from
Avengers: Age of Ultron. Atandwa portrays a younger version of his father's character, and also served as a cultural consultant during filming. Dialect coach Beth McGuire worked to ensure there was continuity between the various actors who had to use "Wakandan accents". Jordan joined the production later than the rest of the core cast. He felt that this aided his performance, since his character is separate from and in conflict with the other characters. Because of this, Jordan kept to himself while he was on set. Since
Black Panther and
Avengers: Infinity War were filming simultaneously in Atlanta, both production teams worked together closely to ensure a unified presentation of Wakanda in the films, as the country also plays a large role in
Infinity War. Additional filming took place in South Korea, with the city of
Busan serving as the setting of a car chase scene that involved 150 cars and over 700 people. Coogler and Morrison referenced the car chase sequences from
Bullitt (1968),
Drive (2011), and
The French Connection (1971), taking the best elements from each for
Black Panthers sequence. Filming in Busan began on March 17, at the
Jagalchi Fish Market. Filming moved to
Gwangalli Beach on March 21, with other South Korean filming locations including
Marine City in the
Haeundae District and at the
Gwangandaegyo Bridge. The production crew hired hundreds of current and former film students from local universities as staff or assistant staff during the South Korea filming. Filming in the country wrapped on March 27, with additional location shooting also taking place at the
Rwenzori Mountains and
Bwindi Impenetrable National Park in Uganda. John Marzano served as cinematographer for aerial footage of South Africa, Zambia, Uganda, and South Korea. At
CinemaCon 2017, Wright was revealed to be portraying Shuri in the film. Filming concluded on April 19, 2017.
Post-production Editing Black Panther was edited by Michael Shawver and
Debbie Berman, with Shawver spending time on set during filming as well as at an editing suite near the Atlanta production base. Berman joined the film after an initial director's cut had been produced, two weeks after she completed work on Marvel's
Spider-Man: Homecoming (2017), because Coogler likes to have both a male and female editing his films. She believed that she was chosen by Marvel because she is South African, and had been expressing interest in
Black Panther throughout the editing process for
Homecoming after first seeing the character in
Civil War. Shawver said that a lot of their time editing was spent discussing how their work was affecting the audience. For instance, Shawver felt that initial versions of the first Warrior Falls fight fell "flat" and used techniques he learned working with Coogler on
Creed to have the editing move back-and-forth to mimic the back-and-forth of the fighters. He also felt that adding more reaction shots to the crowd during the fight gave more weight to T'Challa's victory at the end. During work on the final battle, Berman pointed out to Coogler that the female Dora Milaje are rescued by the all-male Jabari tribe, which she felt undermined the focus on female characters leading up to that moment. Coogler agreed, and subsequently added female Jabari fighters to the scene through additional photography, including the first onscreen Jabari fighter in the scene. Berman felt that this was an important change that would not have been made if only men were editing the film. As first hinted by Coogler in January 2018, the film includes two
post-credit scenes: one showing T'Challa address the United Nations; and one featuring
Sebastian Stan reprising his role as
Bucky Barnes. The first scene was originally intended to be part of the actual ending of the film, but was moved to during the credits so the film could conclude in Oakland, where it begins. Coogler felt having this symmetry was important. In the scene, T'Challa says "The foolish build barriers, while the wise build bridges." Some felt this was a reference to the political climate of the
presidency of Donald Trump, but Coogler stated that the line was added before Trump's election and was simply an African proverb that his wife had found. His intention with the scene was to inspire the audience by making T'Challa seem like a real person in a familiar, real-world environment, similar to how Tony Stark was treated in
Iron Man (2008). Coogler was not mandated by Marvel to feature connections to other films, but was interested in addressing the fact that Barnes was in Wakanda (per the end of
Civil War) because it would be fun for the audience. He did not feel the character fit in the body of the film, but felt that an end-credits scene was appropriate. Coogler originally
pitched a post-credits scene teasing
Namor, which would have depicted wet footprints leading to the throne in the Wakandan palace; this did not occur in part because of rights issues with the character. Namor debuts instead in
Black Panther: Wakanda Forever, portrayed by
Tenoch Huerta Mejía.
Visual effects Visual effects for the film were created by:
Industrial Light & Magic (ILM) with help from Virtuos, Stereo D, and
Scanline VFX;
Double Negative;
Luma Pictures; Mammal Studios;
Method Studios;
Perception; Rise Visual Effects Studios; Torm Studios; Trixter;
Cantina Creative; Lola VFX; Capital T; Exceptional Minds; Technicolor VFX;
Rodeo FX; Imageloom VFX; Anibrain; Method Pune; Bot VFX; Pixstone Images; Futureworks; Vertigo Visual; FX3X; and Yannix Thailand Co.
Previsualization was completed by Digital Domain and The Third Floor. Geoffrey Baumann served as visual effects supervisor. (top) and completed visual effects shot of Wakanda by
Industrial Light & Magic (bottom) Comparing
Black Panther to other MCU films, Baumann noted that the visual effects department often have free rein when creating otherworldly science fiction designs, but had to be more specific with this film due to the need to be authentic to African culture and geography. For the Warrior Falls environment, the amphitheater-like cliff walls had to be populated with digital spectators that could not simply be copy-and-pasted around the set due to the precise costume designs created by Carter for each tribe and character. Instead, the visual effects department had to work with the costumers to individually model each digital extra for the sequence. Additionally, visual effects were also used to adjust the opening sequence after test audiences were confusing the characters of T'Chaka and T'Challa, both dressed as the Black Panther. Artists digitally added some grey to T'Chaka's beard and gold trimmings to his suit to help differentiate the characters. ILM was primarily responsible for creating the digital urban environments of Wakanda. ILM VFX supervisor Craig Hammack compared this work to his time on
Tomorrowland (2015), but noted the additional challenge of not just building a futuristic city, but also one that was culturally appropriate. He explained that African culture has a "certain amount of earthy material qualities that make things difficult to design as a futuristic city," which would typically use much steel and glass. ILM looked to real life examples that blend modern architecture with natural environments like
One Central Park in
Sydney and
The Pearl of Africa Hotel in
Kampala, but also had to "depart from a strict understanding of physics and go into a movie cheat world" at times to produce the desired look. Hammack was also inspired by the architecture of Uganda, where he spent time while aerial footage for the film was being shot. 60,000 individual buildings were designed and modeled for the city, which Hammack said was the first thing ILM began work on and also the last thing they were doing when the film was completed. Other things that ILM worked on during the production included set extensions and blue-screen replacements for interior sets, and the first rhinoceros shown in the film. For T'Challa's ancestral plane scenes, ILM replaced the basic set that was used with a full CG environment including an acacia tree and animated panthers. The sky was based on the
Northern Lights, with this first designed for nighttime scenes before being replicated for daytime scenes in which the animators had to work hard to keep the effects visible. ILM also added additional sand for the burial sequences so Boseman could breathe during filming, and additional flames when Killmonger burns the heart-shaped herb. Method Studios created many of the natural environments of Wakanda. The company built a landscape that is visible in various aerial shots in the film, which was based on multiple landscapes from across Africa. Method was also responsible for creating Black Panther's and Killmonger's digital suits, including developing the look of the nanotechnology they use. They created many of the film's digital characters, vehicles, and weapons, with some of those digital creatures being rhinoceroses for the final battle, a sequence that Method did the majority of the work for. Because these rhinoceroses did not have to be seen on screen with the one designed by ILM, only basic structures, scale, and details of the character models had to be shared between the two companies. Much of the work for the final fight included crowd simulation, with Method working alongside the stunt coordinators in motion capture sessions to give each fighter a unique style. In addition to randomizing the height and weight of each digital fighter, the models had to incorporate specific design elements from the costumers. Method also worked on the vibranium mine and Shuri's laboratory, including animating the gadgets seen in the latter. Luma Pictures worked on the Busan car chase sequence, digitally creating the cars featured in the sequence based on
CAD models and on-set reference. Multiple digital versions of the same car were created, so the production could have the actual cars crash and do various stunts with them, with Luma then inserting the digital versions to augment these moments. Luma also created the sonic forces from Klaue's cannon, while Scanline VFX worked on digitally removing Serkis's left arm for the London museum heist sequence. Several companies worked on the vibranium sand effects used in Wakandan technology, including ILM for the beginning of the film. Perception spent 18 months researching real-world technologies, phenomena, and visual themes to aid them in their work on the film. Their designs for the vibranium sand were based on research being done with ultrasonic transducers for the purpose of mid-air haptics and acoustic levitation. They integrated this research into the kimoyo beads worn by Wakandans and as a working interface on the royal talon fighter. Perception also created the traditional displays on the talon fighter and in Shuri's lab. For the talon fighter, the company "experimented with parallax, depth, and volume in the information being displayed, as well as developing a unique color palette to brand the Wakandan tech". In Shuri's lab, Perception adjusted the hues on the wall to match her attire, and for her healing room "proposed that the hexagonal pattern seen on the wall actually reveal itself to be articulating panels" that "pulse and ripple". The company also created the function of Black Panther's suit with nano technology and "layering the suit with different patterns as well as adding 'sub-dermal' luminescent tattoos", the virtual car chase with Shuri and T'Challa, and designed the opening prologue, with the final version created by Storm VFX. Perception also created the main-on-end title sequence. == Music ==