Baby Groot Gif Guardians of the Galaxy 2 Rocket

The joy is in the details. And at that place is no shortage of detail in the bombastic, toe-tapping opening to Guardians of the Galaxy Vol. 2. The two-time galaxy savers – Star-Lord, Gamora, Drax, Rocket, and, of course, Infant Groot – are at it once more, this time contesting the Abilisk, a giant interdimensional beast.

Infant Groot, mischievous and distracted and utterly in his ain globe, dances to music from Star-Lord's second mixtape while the Guardians throw down in the background, out of focus. The focus on Groot instead of the master action is the offset comedic thrust of the picture, a hilarious stroke of wit that dumps audiences in medias res but with the major action just across reach.

Although Babe Groot is voiced past actor Vin Diesel in the film, the tiny tree character'due south dancing is actually based on director James Gunn's own movements. Gunn's love of music was directly translated to the screen by visual effects company Framestore, who used a video recorded by associate producer Simon Hatt on an iPhone in Gunn's home office just subsequently he'd written the opening scene. In the video, Gunn dances freeform, with moves "fabricated upward on the spot" but clearly in character as Groot. "I'm trying to move my trunk that [sic] works for a little tree more than than what I'd exist dancing similar in a nightclub in L.A.," said the director.

Managing director James Gunn dancing to provide reference footage for Groot's animators, via Instagram

The custom typography developed by Sarofsky for the get-go Guardians of the Galaxy film returns here, this time in rusty aureate and glowing blueish neon, providing familiarity and make consistency. The title card freeze-frame puts Baby Groot in a Matrix-like pose, impervious to – and ignorant of – the commotion effectually him. As the camera buzzes between laser blasts and flailing tentacles the motion-picture show's credits appear wherever at that place'southward room. Meanwhile Groot continues his trip the light fantastic, adorable and oblivious to the events effectually him, losing himself to the music.

Like Rob Gordon says in 2000'south High Allegiance, "The making of a dandy compilation tape, similar breaking upwardly, is hard to do and takes ages longer than it might seem. You've got to kicking it off with a killer to catch attention." The killer song here is Electric Light Orchestra's infectious "Mr. Blueish Sky," a soaring Beatlesque limerick penned by songwriter Jeff Lynne in 1977. Information technology's been used in a handful of films including Eternal Sunshine of the Spotless Mind and The Invention of Lying, but mayhap the well-nigh interesting place it's been played is in infinite. In 2011, the song was played every bit a wake-up phone call for astronauts on the final mission of Space Shuttle Atlantis. The opening of Guardians of the Milky way Vol. 2 recalls that usage, giving the Marvel flick a jump-start, juxtaposing the bright and irresistible "Mr. Blue Sky" with something truly out of this world.

A word with Executive Artistic Director ERIN SAROFSKY of Sarofsky and Blitheness Supervisor ARSLAN ELVER of Framestore.

So Guardians of the Galaxy Vol. 2 is Sarofsky's sixth Curiosity projection to date. How do these projects typically come up to you at this indicate?

Erin: What's really funny almost Guardians of the Galaxy Vol. 2 is that they shot the whole opening sequence specifically to have the type in there, just it actually wasn't until towards the cease of the process that nosotros were brought in. I tin can't remember exactly the schedule, just it was a few months to the terminate line.

Then what were your first conversations with manager James Gunn virtually this? Where did this all kickoff?

Erin: We went out to come across the picture show and and then we had a conversation with him after the motion-picture show. That doesn't always happen – it depends on schedule and availability – but we got to have a conversation with him. He was very specific about what he wanted, just was besides open to other things. He was intrigued to hear what we thought considering we'd been through the whole procedure with him in one case already and there was at least a basis for dialogue. At offset he was thinking that it might be a different typeface, simply I was like "Ooh, merely it's branded!" [laughs] "Information technology's very important! Simply we'll bear witness y'all some options that aren't that"... but I was obviously going to push very hard for it to be at least a version of the same typeface – something that at least nodded to what nosotros did in the first 1. It got there, but he did have to see it. He wasn't tied to information technology though, which was kind of absurd.

He'due south the only director that we work with who does that. He literally wrote this sequence as a bed for main titles.

—Erin Sarofsky

Guardians of the Milky way Vol. 2 (2017) early championship design concepts

Erin: Then we had a large round of visual exploration, like we always practise. Hither's a bunch of ideas! What if nosotros built off the typeface we created from last time? What if we rendered it a bunch of different ways? Hither's some flat options, some 3D options, some in the infinite, some not in the space. We went through that creative process with them. It was as large an attempt as it would be with a full main-on-end, simply it'due south just a picayune more microscopic in terms of the actual letterforms and things like that. Information technology's nice to be able to focus on type in that kind of a way.

So it sounds similar you didn't have to pitch on this project as might usually be the example...

Erin: In this example nosotros were the merely people brought in, but typically in the Marvel space nosotros do have to pitch every time. [James] really liked where we were at on the offset ane and our ability to do "simple". He knew that it was going to have to be really simple. The wireframes we saw for the opening, they had the orbs in the background and the plates for the actors and things similar that. The choreography was pretty much at that place, but we didn't see any of the stuff in the groundwork. He was the but one who knew how far it was going to go – and nobody else probably.

Guardians of the Galaxy Vol. iimanaging director James Gunn on gear up with actor Michael Rooker.

Arslan, could yous tell us well-nigh Framestore'south primary role on Guardians of the Galaxy Vol. 2?

Arslan: We were tasked with creating the main assets of the bear witness and distributing them to other vendors. We recreated Rocket with a better costume, hair simulation and facial expressions. Nosotros likewise created the Baby Groot nugget, model, rig, and find his grapheme through exploration of the performance, how human he is, how child-similar or not.

Besides creating the main characters we were tasked with approximately 600 shots. These included the film's grand opening scene, Ayesha'due south lair, the space chase, and the Eclector scenes when Rocket, Infant Groot and Yondu are imprisoned in the ship.

What were some of your initial conversations about the picture's opening sequence? Were James Gunn or the producers at Marvel involved in those discussions?

Arslan: Past the fourth dimension I joined the prove there was already a very detailed previs done by The Third Floor. All the camera moves were established and roughly what was happening in the background. Groot's functioning wasn't there, plainly. Information technology was a stick figure moving in a cycle. The big matter for James was in that location is this massive fight going on in the groundwork and Groot isn't fifty-fifty aware of information technology. He is in his ain world. He dances with his eyes closed or he gets distracted past the Orloni – the creature Groot rides. He wanted to play with this idea a lot. It paid off massively.

Erin, what did that first version of the opening you saw look like?

Erin: It was a very heavily visual effects sequence. All the characters were shot confronting green screen doing their wire work, then really zilch was there. All that was in that location were the circular platforms that they were standing on, the orbs in the back, and the beast in very crude class – all of the main elements were in at that place. But they had the people cut out every bit they're flight around and sometimes you still saw the wires. At that place were 2 shots that were pretty finished-looking considering by that point the trailer was out. So those two piffling chunks were there, but even then they inverse those shots – they were still working on them. Only because it's in the trailer doesn't mean it's finished!

Guardians of the Galaxy Vol. ii (2017) teaser trailer

Arslan: In that location are only pocket-size bits of real footage. When Quill falls on the basis and shoots next to Groot dancing, and when he says "Groot!" then gets smashed by the tentacle of the Abilisk – that's real. Gamora talking to Groot before flying off is real. And Drax rolling in and stopping behind Groot is existent. Only a few elements, really. The bulk is CG and digital doubles. For case, when Drax falls on the speakers we concluded upward using CG Drax because for purposes of interaction and blitheness it was just easier.

Erin, information technology seems similar being able to focus just on the typography would be less piece of work for your squad, merely you lot had to make information technology work in this larger context with so much happening in the background. Was that a challenge?

Erin: Completely! That was a huge obstacle. All the [visual effects] work that Framestore did was apparently incredible, but a lot of the work that nosotros saw when we did our initial first pass wasn't there. All of the layers of effects, the explosions, a lot of that simply wasn't in in that location. So every new pass we got from them had more and more and information technology was like, "Oh, well I guess the type can't go there… or there." [laughs] Or it was like, "Oh shit! We have to rethink our type completely because there's now all of this colourful, effervescent plasma that'due south spewing everywhere." And then it connected to exist a moving target. They're figuring out the process too, so if anyone is going to be the i reacting and irresolute, it's us.

Were all the Baby Groot trip the light fantastic toe moves already figured out?

Erin: Oh yeah! It was blocked out. There was no Sean Gunn dancing or annihilation like that, merely it is James Gunn dancing and so they modeled information technology around him. He does the dance and Baby Groot gets blithe based on that.

Arslan, how did Framestore plough James' dance moves into the blitheness for Baby Groot?

Arslan: James is an amazing director. He is actually invested in his movie and his characters. He did this petty dance at the end of Guardians of the Milky way for Infant Groot in mail service. He generously did the aforementioned for this massive shot. He danced out the whole sequence. We had to change some parts of it to brand information technology work with the photographic camera speed or the specific moments, but he was the soul of information technology and a big inspiration.

We had to alter some parts of it to make information technology work with the camera speed or the specific moments, only he was the soul of information technology and a big inspiration.

—Arslan Elver on James Gunn's trip the light fantastic moves

Director James Gunn dancing to provide reference footage for Groot's animators, via Instagram

Arslan: We didn't motility capture it though, considering mocap creates a feeling of a human nether the skin of Groot. He wouldn't be able to do such circuitous motions like a human would, so nosotros advisedly analyzed his performance and animated by hand a fully keyframe Baby Groot.

So aside from Groot, how does production on a large, complex VFX sequence similar this typically start? Can you walk us through how it gets from a page in the script to something that begins to resemble the final product?

Arslan: There is a script of course, but a sequence similar this really starts to flesh out with previs. James worked with the previs team based on the song he chose in keen detail. Subsequently many iterations they go a version James is happy with. That previs and then came to us. We looked at it and since information technology's one unmarried shot it would have been incommunicable for one person to animate the whole thing or light it or comp it. So nosotros split that 1 long shot into xi pieces. Nosotros tried to pick the places that made sense for an easy transition betwixt the chunks. When nosotros received the previs, the titles were already there. Although they were 3D titles that lived in the actual space rather than stay on the screen similar it is now.

Arslan: The next step is to outset to cake out the performance of Groot based on the cameras choreography. Since the geographic position of Baby Groot is very important, the challenge was not only create a not bad operation just also make sure he ends up in the right places based on the previs and photographic camera moves. Then nosotros finesse the performance and finesse the hookups betwixt the 11 shots, not only for Groot but too for the background action. It was a massive challenge to animate then many things in one single continuous shot.

It was quite a circuitous thing, really. Non only for animation simply for cloth simulation, for FX, and for compositing. Every department had to deal with this, which takes fourth dimension and then it puts actress pressure level on the schedule. As usual comp also helped a lot to comprehend some issues and get in look seamless and awesome.

Erin, what did the basics and bolts of production wait like on your side? What were the starting time steps?

Erin: Design. Ever design. They'll transport usa the opening, wherever it is at the fourth dimension, and nosotros commencement laying blazon on summit of information technology, doing some move tests, and just kind of getting a vibe for all the different directions they could take it. For Vol. 2 nosotros really focused on three areas: one was doing three-dimensional type that was integrated throughout the whole title sequence in the space, kind of like how Guardians of the Milky way was. Then nosotros explored doing some 2d type options on top then we looked at some flat type brought on past dimensional things. So like creating a niggling hovering grapheme that projected a hologram up on the screen, something completely out of the box. They were similar, "Holy shit, that's absurd!"

Guardians of the Galaxy Vol. 2 (2017) early title design concepts

Erin: I idea that had a real chance of living. It was an interesting, innovative solution. It was completely left-field. Nosotros talked well-nigh the 3D type in the space, we talked nigh unproblematic 2D blazon, and and so we came upwardly with three or four other ideas for how to handle it. He looked at that, got actually interested in that, and and so it started to dawn on him that that would mean we'd take another character in the sequence. This little hovering thing, big or pocket-size or floating around, whatever grade it takes on, it's another character. What's cool most information technology is that information technology could fly away from the activity, y'all know? It could move to the side and accommodate any animation that Framestore was doing. It was a clever idea, but then he started worrying nigh having to bargain with another character in a complicated scene. So the whole process became one of simplification. How little can we do to mess with this fun narrative that's already going on?

So yous ended up settling on the 2D solution for most of the sequence with the exception of the championship card reveal, which actually interacts with the scene in a cool way. Could yous tell me a bit about that element of the sequence?

Erin: That was a absurd process because that had to physically be in the infinite. We designed the typeface, we extrapolated it out, we modeled it, we did render tests and texture tests, and book frames, so ultimately we took all of our models and assets and handed them off to Framestore to actually put into the scene. Then it's rendered into the scene!

The final title bill of fare every bit it appears in Guardians of the Milky way Vol. two (2017)

Arslan: The freeze-frame was James' idea but it wasn't really fleshed out in previs. He was smashing to see different versions of the shot and he liked the freeze-frame version so we ended up doing it. Nosotros got the model from Sarofsky and applied our shaders. The gold fabric of the platform was added and placed into the animation scene. One nice impact was the "Vol. two" part of the title card. It plays like a neon tube and the lighting of that interacts with the environment and Baby Groot. Information technology was a nice touch.

Erin: We worked with all of their working files, which they'd sent to us, and nosotros built in their environments and so everything was exactly to calibration. We'd send them tests and they'd review them and be like, "Actually, it'd be cool if your files were a petty bit more like this!" We would accommodate. Then when they got our work information technology was basically but plopped correct into their world.

Is that an unusual process for you lot guys to hand your work off like that?

Erin: Aye! [laughs] On the principal title side for sure because usually it'due south all in our earth. Sometimes we evangelize titles to Technicolor to keep top of something else, but that's a bit different. We had to totally work inside their pipeline, which was quite extensive. We had it looking exactly the way we wanted to, and so it wasn't like we handed off a 3D model and were like, "Texture it nevertheless y'all want it!" We had proper 3D rotations of it where the lighting moved around information technology, so they could meet what our full intention was.

We had a lot of advice with Framestore. They congenital these scenarios, everything was in place and canonical, and their pipeline was more challenging than ours. We wanted to be as accommodating as possible to exist able to address James' notes but also make sure that nosotros weren't messing with annihilation they were doing. Nosotros were trying to treat them how nosotros would want to be treated in that situation.

The Guardians serial is unique amongst Marvel movies in that they feature elaborate opening credit sequences – most other films in the franchise forego an opening in favour of a strong main-on-end championship sequence. Could you talk most James Gunn's approach to these sequences in your conversations with him and how information technology might differ from the other directors you've worked with?

Erin: He writes information technology into the script. I retrieve he's the but manager that we work with who does that. He literally wrote this sequence as a bed for primary titles. He likewise puts the music in the script. At that place'south a musicality to all of his work. That'due south a big part of the tone of the Guardians movies and I call back office of why people love them and then much.

Guardians of the Galaxy (2014) primary titles, designed past Sarofsky

Erin: It's completely unlike when you're walking into something that is already planned versus a state of affairs where you're but told, "I don't know! Show us some cool stuff and we'll pick." Totally dissimilar. He'southward not a typographer or a traditional designer, but he certainly has a very specific indicate of view when it comes to the blueprint of this. He definitely knows what he wants – and he knows what he doesn't want. We could testify him the coolest-looking affair and be like, "He's gotta bite on this!" He wants the simple thing. He's the ane with the vision for what information technology's going to expect like all the way through.

Is there a specific element or moment in the main title that you're most happy with?

Erin: I'm simply happy that they fit into the tone of the movie. They're actually fun, but I'thou really proud that they didn't arrive the way of annihilation to be honest. There were a lot of solutions that could have been as well much, simply we erred on the side of simplicity and that served the larger purpose in that location.

Arslan, practise y'all have a favourite moment or element that you're most happy with?

Arslan: That's like asking, "Who is your favourite child?!" To be perfectly honest, it's the whole of it. There is so much fun stuff and contrast in that long shot. It took months to get it done and it was worth every bit of sweat and claret.

OK! Then let's talk about the end title and the clamber.

Erin: Yeah! That'southward our first one e'er.

Guardians of the Galaxy Vol. 2 (2017) stop title sequence including crawl and stingers

The "Guardians of the Galaxy Will Return" is patently nice nod to James Bond, but tell the states nearly some of your inspirations for the lasers carving out the type.

Erin: It was stuff from the movies! We obviously took the typeface from the start and nosotros wanted it as this outline, only the question so became "How can nosotros bring this on in a cool mode?" I want to say "PEW PEW!" but that's Star Wars, simply this was pulled from the film, the ships and their lasers. So we kind of matched that. We thought they were going to want to practice something a lot simpler, so we called this treatment "Crazy Lasers". [laughs] "Crazy Lasers" is the treatment and that's what it was chosen the unabridged time.

Nosotros didn't know what the best approach was. The end of the movie with Rocket crying was just so emotional, so I merely did not remember they'd become with "Crazy Lasers" in a million years. I thought they were going to want to ease you into it. Only they blare correct into that fun music to snap you lot out of it. They obviously had the vision to understand that, just we wanted to provide options. In editorial they put things in and encounter what feels correct, and "Crazy Lasers" for the win!

Now with so many stingers – the subsequently-credits scenes – does that throw a wrench into what you guys accept to produce? Do y'all have to produce more content for the crawl in that instance?

Erin: It is a major wrench! Information technology is the epic wrench. When nosotros were presenting our solutions for the primary title, we were in there with Victoria Alonso and James and Kevin Feige and Louis D'Esposito – all these really impressive people – and I say we're done. I'chiliad going to get up and say "Okay, absurd so we accept our direction!" "No, no, nosotros want to talk to yous about something else. We want you to think about doing the end crawl." I was just like "No. No, no, no, no, no! We're not doing an end crawl." Everybody was only kind of looking at me like I'm totally bananas. But and then Victoria suggested that we have Exceptional Minds continue to set the type in whatever style you dictate. They're this great company out in Los Angeles – they're more than of a university actually – that helps kids on the autism spectrum find work in post-production. Victoria is very committed to making certain they accept work. It's actually great!

Curiosity Studios executives Kevin Feige, Victoria Alonso, and Louis D'Esposito, 2015

Erin: The idea was to have Exceptional Minds fix the type and we'd do the design. The problem as they explained it was that they had all these tags and were adding more, and they needed a design solution that was going to go along people in their seats. That was the coolest matter I'd ever heard. And so nosotros started talking about it a little more, they told me what the tags were, and sent a couple over that they already had, then we started designing and coming up with solutions for what this end clamber could be. It'due south thousands of people'southward names! Thousands of names.

So you brought in Infrequent Minds to do that the typesetting and credit checking parts of the crawl?

Erin: Yep, so we went through the process of choosing a typeface, choosing the size and speed, and the technical process of strobing and all that stuff. We came up with the formula for how it should wait and then they set up all the type and provided renders to usa. Nosotros'd then put that into our design. The procedure with Infrequent Minds was that they gave united states of america white type on black, merely scrolling, and then we put it into the bigger design and delivered it to Marvel.

How would you describe that bigger design, the concept for the end titles? It sort of looks like album covers from the 1970s.

Erin: Old anthology art! Totally inspired by that. Curiosity's legal team is the greatest, so nosotros couldn't get away with doing anything referential or specific, only in that location is a vibe to it where it feels like '70s album art 100 per cent. We took albums and scanned the old textures. We raided all of our family unit'southward closets and got all these albums that were all scratched upwardly. We scanned that and put that in there because we thought it was an of import part of the textural nature of information technology.

There is a vibe to information technology where it feels like '70s anthology art 100 per cent.

—Erin Sarofsky

Guardians of the Galaxy Vol. two (2017) end clamber concepts

And you've also packed in all these piddling details and glimmer-and-yous'll-miss-it gags. Were those dancing characters shot or created specifically for the stop clamber?

Erin: They simply shoot a whole bunch of random shit. They practise it when they're doing promo shoots, they do it on prepare, they exercise it all the time. They shot some of those tags pretty late in the game, so they'd take hold of things. We didn't get whatsoever of the David Hasselhoff stuff until the very end. David Hasselhoff really sings that final song, so they were doing a vocalisation record with him and decided to shoot him for the end. The whole point was for it to feel janky and gif-like, so we just started popping stuff in and making it work.

Aye, it'southward got that whole Boomerang issue to a lot of the movement!

Erin: Totally! And we also had the flashing blazon that started out equally "I am Groot" then inverse to people'south names. My large thing that I retrieve that Kevin liked for certain and James got obsessed with was like "What else can we put in here? What are these Easter eggs that we can employ to keep people in their seats?" Information technology became their obsession all the manner to the very end.

Guardians of the Milky way Vol. 2 (2017) end clamber excerpt

Practise yous have a favourite Easter egg or moment from the end clamber?

Erin: I dear that row in the blue earth where they're all dancing. I think that's and so fun. You lot've got Mantis in there, Rocket's in there – Rocket is dancing so somebody had to animate that for us! "We'll phone call so then and have them animate Rocket for you lot." Just to make a niggling gif. Rocket was created for us. We didn't accept him dancing until the very terminate. They also must have been shooting Thor: Ragnarok at the same time considering they were able to get footage of Jeff Goldblum dancing. He's in one of the circles!

And Howard the Duck!

Erin: Yeah! Of form.

Howard the Duck'south brief appearance in the Guardians of the Milky way Vol. 2 end crawl

Arslan, did Framestore exercise any piece of work on the characters in the end crawl or stingers?

Arslan: Yeah. Nosotros were tasked with the adolescent Groot shots. James' blood brother Sean played him on set and we used his performance for inspiration. Groot is playing some space video game and is being dismissive, like everyone is at that historic period. Information technology was quite a fun affair to animate!

Erin, would you practice an end crawl again?

Erin: They're so long! Honestly, nosotros knew it was going to exist more work than we thought it was going to exist because of their pipeline. When they do something they are all in! Information technology was no joke, until the very stop nosotros were consistently working on it. Nosotros knew information technology would be cool, merely nosotros likewise knew it was going to be a giant challenge. And it's stuff y'all wouldn't necessarily see on screen. For example, if 3 names are added to information technology, information technology's going to change the timing of the whole department in betwixt the tags.

And is there a specific element or moment in the cease clamber that yous're well-nigh happy with?

Erin: With the cease crawl I'k just glad we gave people some entertainment while they were waiting for their cool tags. You get from a main championship, which is essentially a legal certificate but can be very artful, to an end crawl, which is like reading a contract. My god! Unless your name or your child'southward name is in information technology, there's a pretty good chance y'all're not reading information technology! And then to give people a reason to look through it, to express mirth and be engaged with it was really cool. I'm really proud of that.

And then are you ready to tackle some other end clamber after this project?

Erin: I very well might say thank y'all merely no, just I would at to the lowest degree hear them out. I wouldn't get up and endeavour to leave! [laughs]

View the credits for this sequence

Client: Marvel Studios
Movie Manager: James Gunn
Marvel Studios Executive Producers: Kevin Feige, Louis D'Esposito, Victoria Alonso
Marvel Studios Post Producer: Jennifer Bergman

Master Championship Sequence
Product Company: Sarofsky
Atomic number 82 Creative: Erin Sarofsky
Executive Producer: Steven Anderson
Producers: Erik Crary, Sam Clark
Visual Effects Supervisors: Matthew Crnich
Post Production Producer: Jennifer Bergman
Pb Designer: Duarte Elvas
CG Artists: Brent Austin, John Filipkowski, Alex Kline, Zach Landua, Josh Smiertka, Dan Tiffany, Ryan Vazquez, Tnaya Witmer
CG / Finishing Creative person: Cory Davis
Finishing Assistant: Erik Uy

Visual Effects and Blitheness: Framestore
Visual Effects Supervisor: Jonathan Fawkner
Visual Effects Producer: Sophie Carroll
Visual Effects Co-Supervisor: Patric Roos
Visual Furnishings Executive Producer: James Whitlam
Animation Supervisor: Arslan Elver
CG Supervisors: Sylvain Degrotte, Andy Walker
Compositing Supervisor: Matthew Twyford

Terminate Credits and Clamber
Production Company: Sarofsky
Lead Creative: Erin Sarofsky
Executive Producer: Steven Anderson
Producer: Erik Crary
VFX Supervisor: Matt Crnich
Designers and Animators: John Filipkowski, Duarte Elvas, Tnaya Witmer, Josh Smiertka, Dan Tiffany, Zach Landua
End Clamber Typography Layout: Infrequent Minds
CG / Finishing Artist: Cory Davis
Finishing Assistant: Erik Uy

Music:
"Mr. Bluish Heaven"
Written past Jeff Lynne
Performed by Electric Light Orchestra

"Give up"
Written by Rick Nielsen
Performed by Cheap Play a joke on

"Male parent And Son"
Written by Cat Stevens (equally Yusuf Islam)
Performed by Cat Stevens

"Wink Light"
Written past George Clinton, Bernie Worrell, and Bootsy Collins
Performed by Parliament

"Guardians Inferno"
Written past James Gunn and Tyler Bates
Produced by Tyler Bates
Performed by The Sneepers ft. David Hasselhoff

SUPPORT FOR ART OF THE Title COMES FROM LENS DISTORTIONS

Cinematic effects for filmmakers, editors and VFX artists.

Featuring overlays made from singled-out drinking glass elements, natural sunlight, and other optical sources.

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Source: https://www.artofthetitle.com/title/guardians-of-the-galaxy-vol-2/

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