Triumph in 360 The crew wrapped the tennis court in bluescreen so that the surroundings could be replaced with sand-art animation. 68 underneath the camera, so he didn't need to watch playback - and I monitored the image with Jeff. Did Ashe '68 have a lengthy postproduction? Cohen: It was a very long postproduction period. Legend handled all the post for the stitching and VFX, and Matthew Kemper was the lead artist. Aaron Elias was the colorist, who worked in [SGO] Mistika for the color grade and conform. The sandart animation is a painstaking process, where every single frame was physically 'painted' [with] sand on a 2-foot-by-5-foot light table. And if you think about the way that it has to be done, warped, and then dewarped to fit inside of the sphere - it's very time-consuming. The artists had to build the entire way that they were going to photograph the sand art, and incorporate it into the live-action that we had shot. They created and photographed over 4,700 individual frames. The sand-art animators are Masha Vasilkovsky and Ruah Edelstein. They're both faculty at CalArts. The May 2019 ASC 100th Anniversary