<P> In July, Feige discussed specific moments in the film, including an homage to The Amazing Spider - Man issue 33 where Parker is trapped underneath rubble, something Feige "wanted to see in a movie for a long, long time". Daley said that they added the scene to the script because of how much Feige wanted it, and explained, "We have (Parker) starting the scene with such self - doubt and helplessness, in a way that you really see the kid . You feel for him . He's screaming for help, because he doesn't think he can do it, and then...he kind of realizes that that's been his biggest problem ." Feige compared the film's final scene, where Parker accidentally reveals that he is Spider - Man to his Aunt May, to the ending of Iron Man when Stark reveals that he is Iron Man to the world, saying, "What does that mean for the next movie? I don't know, but it will force us to do something unique ." Goldstein added that it "diminishes what is often the most trivial part of superhero worlds, which is finding your secret . It takes the emphasis off that (and) lets her become part of what's really his life ." Feige also talked about the film's revelation that the Vulture is the father of Parker's love interest, feeling that if it did not work, the film would not work . The team "worked backwards and forwards from that moment...You had to believe that we had set it up so that you would buy it (and it) doesn't seem like something out of left field". Watts said the revelation scene and the following interactions between the Vulture and Parker were, "more than anything else, (what) I was looking forward to, and I got to have a lot of fun shooting that stuff". Goldstein said the scene after the reveal, where Vulture realizes that Parker is Spider - Man while driving him to the school dance, was the moment he was most proud of in the film, and Daley said that scene's effect on audiences was the dramatic equivalent of an audience laughing at a joke they had written . He added that the writers were "giddy when we first came up with (that twist), because it's taking the obvious tension of meeting the father of the girl that you have a crush on, and multiplying it by 1,000, when you also realize he's the guy you've been trying to stop the whole time ." </P> <P> Visual effects for the film were completed by Sony Pictures Imageworks, Method Studios, Luma Pictures, Digital Domain, Cantina Creative, Iloura, Trixter, and Industrial Light & Magic . Executive producer Victoria Alonso initially did not want Imageworks, which worked on all previous Spider - Man films, to work on Homecoming, in order to give it a different look than those earlier films . She changed her mind after seeing what she called "phenomenal" test material from the vendor . </P> <P> Trixter contributed over 300 shots for the film, including: the opening scene at Grand Central Terminal; the sequence that retells the events of Civil War from Parker's perspective; the sequence where Toomes takes Liz and Parker to the dance; the school battle between Parker and Schultz; and the scene around and within the Avengers compound . They also worked on both Spider - Man suits and the spider tracer . Trixter created additional salvage workers to populate the Grand Central scene, whose clothes and proportions were able to be altered to create variation . For the battle between Parker and Schultz, Trixter used an all - digital Spider - Man in his homemade suit, which came from Imageworks, with Trixter applying a rigging, muscle and cloth system to it "to mimic the appearance of the rather loose training suit". They also created the effects for Schultz's gauntlets and had to change the setting from the Atlanta set to Queens, by using a CGI school and adding 360 degrees of matte paintings for the mid to far distance elements . Trixter received concept art and basic geometry that was used previously for the Avengers compound, but ended up remodeling it for the way it appears in Homecoming . Models and textures for Spider - Man's Avengers costume were created by Framestore for use in a future MCU film, with Trixter creating the vault that it appears in . Trixter VFX supervisor Dominik Zimmerle said the idea was "to have a clean, high tech, presentation Vault for the new suit . It should appear distinctively' Stark' originated". </P> <P> Digital Domain worked on the Staten Island Ferry battle, creating the CGI versions of Spider - Man, the Vulture suit, Iron Man, and Spider - Man's drone . Digital Domain was able to LIDAR an actual Staten Island Ferry, as well as the version created on set, to help with creating their digital version . Lou Pecora, visual effects supervisor at Digital Domain, called that sequence "brutal" because "the way they were shot, it was lit to be a certain time of day, and afterwards it was decided to change that time of day ." Sony Pictures Imageworks created much of the third act of the film, when Parker confronts Toomes on the plane and beach in his homemade suit, and Toomes is in an upgraded Vulture suit . Some elements from Vulture's first suit were shared with Imageworks, but the remainder was created by them based off a maquete . For the plane's cloaking ability, Imageworks was inspired by the real world Adaptiv IR Camouflage tank cloaking system from BAE Systems, which uses a series of tiles to cloak against infrared . For their web design, which was based on the one created for Civil War, Digital Domain referenced polar bear hair because of its translucent nature . Imageworks also looked to the Civil War webs, as well as to those they had created for previous Spider - Man films, in which the webs had tiny barbs that aided in hooking on to things . For this film, they dialed back the barbs to line up more closely with the other web designs created for this film . Method Studios worked on the Washington Monument sequence . </P>

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