{
  "$type": "site.standard.document",
  "bskyPostRef": {
    "cid": "bafyreiaprvo2vfe6v343t7jdzr2bzaprahchemsllgua5r77wdnu7mdxpu",
    "uri": "at://did:plc:hejao6wge3hrmke6f527fttv/app.bsky.feed.post/3mnrogdjl3cg2"
  },
  "coverImage": {
    "$type": "blob",
    "ref": {
      "$link": "bafkreifbwigxqeygjiopk5lzoloohgvonrereo5p3qvx4hqhlj5hj5copm"
    },
    "mimeType": "image/jpeg",
    "size": 27709
  },
  "path": "/features/craft/spider-noir-vfx-interview-craft-roundtables-1235198578/",
  "publishedAt": "2026-06-07T16:00:00.000Z",
  "site": "https://www.indiewire.com",
  "tags": [
    "Craft | Technology, Sound and Set Design",
    "Features",
    "Craft Roundtables",
    "Spider-Noir",
    "TV"
  ],
  "textContent": "During IndieWire's Craft Roundtables, Hnedel Maximore explained why a show like \"Spider-Noir\" could only come together if every department was on the same page.",
  "title": "‘Spider-Noir’ VFX Supervisor Explains the ‘Dogmatic’ Approach That Kept the Show’s Most Intricate Sequences Together"
}