Meanwhile, Lindahl cites a very creative comic book sequence as one of the highlights of the film. "It was very exciting to work with John Romita and his team to do something that hadn't been done before, using John's unique style and travel in 3D through the comic book," Lindahl continues. "It started off with John and his team drawing the characters in his Jesus pose. We used this in a previs form to pose his characters quite quickly and explore the world. We started off with a hand-drawn feel but that was too far removed from the graphic novel and you didn't really understand what it was all about when these characters started moving, so what we ended up doing was having the camera doing all the work around static characters that were frozen in time like a graphic novel. It's a 2.5D process of using John's work to build 3D geometry around and re-project onto it so we could travel around it. We used Maya and RenderMan composited in Nuke at Fido. It worked out great as an homage to John's work and as a way of making it cinematic."

Bill Desowitz is senior editor of AWN & VFXWorld.