All of the musical numbers were previs. “As we do a take, our on-set editor, Patrick Correll, would literally take that take and cut it into the timeline, switch out the previs, and then make sure that we got the camera timing, beats and action lined up,” Millar explains. “Then we went again. For each setup we would do 30 to 40 takes to try to get the perfect take. The nice thing about this was after shooting we already knew that the things were going to work.”

The ‘Rock DJ’ scene was 5,334 frames long and featured five costume changes for Robbie and 500 dancers. “Michael didn’t want any obvious wipe points such as someone walking in front of the camera right in front of it,” Millar remarks. “We always tried to do it in a way that we could have some kind of continuity of movement going over the stitch like a digital bus would drive through. Everything was handheld with a little bit of crane work. No motion control work. One of the biggest challenges was getting that single cohesive camera, and it was further complicated by the fact that the two interiors were shot in Melbourne about a year before we shot on Regent Street. We always had to dovetail into those interiors and then back out onto the street again.”

“[The] ambition was to achieve a genuine Lexus sound without resorting to any electronic devices, making full use of the actual intake and exhaust sounds.

The engine bay layout was already being finalized but with cooperation from many related departments, we managed to squeeze in a sound generator that draws intake sounds at the desired frequencies from the engine bay into the vehicle interior.

For the exhaust sound, we again adopted from the LFA, borrowing a technology that controls tone and acoustic pressure by using valves to change flow paths in the exhaust piping.

This gives you a solid exhaust sound from the rear, with the sound image shifting toward the front as you step on the gas by overlaying the intake sound. We created a space where the sound expands in concert with the driver’s touch on the accelerator pedal.”

Move over, children’s choir singing a slowed-down version of a popular song — we have a new spooky sound: stock children’s laughter on loop.

There are two explanations for the usage of canned laughter. First, Marvel was in a rush to get the teaser for the teaser out and looking to save money. With Robert Downey Jr. reportedly earning upwards of $100 million to return to the MCU as Doctor Doom, at a time of the dreaded superhero fatigue, Disney needs to save money anywhere it can. And that includes paying kids to ADR their own laughter. Real laughter? In this economy? To say nothing of the cost of imported whoopee cushions, chattering teeth, and rubber chickens these days needed to make those kids laugh. No, instead you just download the file that says “children-laughing-mp3” and paste it four times into Avid.

Explanation two: It is deliberate. The use of fake laughter is meant to create an uncanny quality, subtly teasing the fact that something is off here. Matt Shakman, the film’s director, was offered The Fantastic Four after directing WandaVision, Marvel’s previously most altogether ooky project. The sound could communicate that we are, in fact, not in our world. (Rumors have pointed to TFF: FS taking place in the 1960s in a different dimension than the one MCU audiences have largely been following.)