Season 5 of Marvel’s Agents of S.H.I.E.L.D. will not debut until January 2018. It will air only after Marvel’s The Inhumans wraps up its eight episode season. The positive side is that all 22 episodes will be shown without any midseason breaks putting into question whether the show will employ the pods format that made up season four.
There are reports of the series heading into outer space for its fifth season. It’s unknown if Ghost Rider will return, though there is a high chance of his returning back in the new season.
Also there are no plans to resurrect its dead characters like Grant Ward, Antoine Triplett and Lincoln Campbell through the magic of the Framework (the virtual prison) and AIDA’s body-making machine.
It looks like actor Clark Gregg, who stars as the ever-loveable Agent Phil Coulson, might be stepping behind the camera in the new season. Gregg has experience behind the camera too. He shot the 2008 film Choke and the 2013 movie Trust Me.
While participating in an impromptu and unofficial ask me anything thread on the Marvel Studios’ Subreddit, Clark Gregg revealed he is considering helming an episode of the recently announced fifth season of Agents of S.H.I.E.L.D.
“I may direct an episode in season 5. If I don’t pass out from exhaustion, I am just thinking about it,” Gregg wrote in the thread.
Recently a VFX reel of season four was released by Emmy-nominated visual effects studio CoSA VFX that showcases how VFX was utilised to bring the world of S.H.I.E.L.D. to life in its fourth season. Check the video below.
It begins by showing us how the unexpected visual reference to Marvel’s Doctor Strange was put together. There are also few pretty cool shots of the Ghost Rider.
It ventures into a massive virtual construct known as the Framework wherein the agents battled against a sentient artificial intelligence known as AIDA. The result meant a lot of post-production was involved in season four.
Though it doesn’t require the usual green screen shot which wipes over to show all the digital effects that were brought in, CoSA’s efforts seem to be in bringing subtle enhancements to the already filmed footage and generating massive cityscapes to bring the worlds of these television series to life.
Perhaps, most interesting is how seamlessly the studio integrates the requisite effects, producing an image that might only be thought of as a digital effect.
