<P> Editing on the second film began a few weeks before the release of Ant - Man and the Wasp in July 2018, with Feige noting that the film would have a slightly longer time in post-production than some of their other films . Reshoots for the second film are scheduled from mid-2018 until September 2018, occurring in Atlanta and New York City . In June 2018, Feige indicated the title of the sequel would be revealed by the end of 2018 . </P> <P> Visual effects for Infinity War were created by Industrial Light & Magic, Framestore, Method Studios, Weta Digital, Double Negative, Cinesite, Digital Domain, Rise, Lola VFX, and Perception . Digital Domain worked on creating Thanos for the film, producing over 400 visual effects shots . The company created a new facial capture application called Masquerade, based on the concept of machine learning through computer algorithms, specifically for the film, beginning work on the system 3--4 months before filming began to develop and test it . They presented their results to Brolin, the Russos, and executives from Marvel ahead of filming to demonstrate the subtleties Brolin would be able to bring to the character, which helped inform Brolin how to portray the character . Kelly Port, Digital Domain's VFX Supervisor, noted the design of Thanos took into account the versions that appeared in previous films, but were adjusted more toward's Brolin's features, which also helped with matching his performance to the digital character . Weta Digital worked on the fight on Titan, where they also created a separate version of Thanos for their needs . Weta worked on 200 shots of him, along with their 250 other effects shots, that included the Titan environment and the other characters in the fight . </P> <P> Framestore created 253 shots for the film for the New York fight sequence in the first act of the film . Patric Roos, Framestore's VFX Supervisor, called their shots a "mix of full CG shots, plate shots, FX, set extensions, magic spells and a lot of character work". A portion of the fight sequence was shot in Atlanta, before moving to a fully CGI Washington Square Park . Framestore's Capture Lab spent a month in Manhattan and New Jersey shooting photo reference, LIDAR and gigapixel panoramas to capture the environments that had to be recreated digitally, capturing more than 250,000 photos and 15TB of data . For their work on the Black Order members, Framestore spent close to a year developing their models, working with Marvel Studios' visual development team to create animation vignettes to explore each member's personalities and character traits . Framestore also created Iron Man's new suit, the Mark 50, that is made up of singular nanobots which move around his body to form a suit, and was developed alongside Marvel for about two years, and Spider - Man's Iron Spider armor suit . The models and textures for the Iron Spider suit were shared with fellow visual effects vendor Trixer in order for them to implement them in Spider - Man: Homecoming where it was first seen . Framestore also worked on the Black Order's Q - Ship, and Doctor Strange's "Eldritch magic", which was updated from its first appearance in Doctor Strange . Cinesite's work on the interior of the Q - Ship when Ebony Maw interrogates Strange consisted of 215 shots . The company also worked on the small fight between Iron Man, Spider - Man, Strange and the Guardians on the ship, which required full character animation, blaster and web effects, CGI daggers, Star - Lord's mask, Mantis' antennae, and damage to the Q - Ship . The post-credit sequence, the opening scene in Central Park, the scene when Black Panther presents Bucky Barnes with his new arm, interior shots of the Quinjet, and an establishing shot of the planet Vormir were created by Rise, which totaled 26 shots . For the post-credit sequence, Oliver Schulz, Rise's VFX Supervisor, noted the company had done a similar fading effect for a previous commercial project, so those assets were used as a baseline . The company also received digital assets of Cobie Smulders and Samuel L. Jackson from The Winter Soldier for use in the scene . Schulz noted that part of the sequence's difficulty was because "at a later point in the process the decision was made to not move forward with the filmed plate of Nick Fury--instead we would do a camera takeover and switch to a full CG shot . This included a full CG arm crumbling away in close - up together with a full CG environment . Additionally were also the CG close - up pavement and the all CG pager--which reveals the illuminated Captain Marvel Logo at the end ." </P>

Whats the logo at the end of the infinity war