film to have a more natural look than its predecessor. To achieve this, crews filmed the coast of Norway with an Arri Alexa camera for three days in a helicopter, capturing six hours of footage. Double Negative then embedded their CG rendering of Asgard on shots of the natural landscape. Double Negative visual effects supervisor Alex Wuttke said, "The benefit of that is that you have some real-world terrain to work with – so you have buildings that have to convey natural features. Then from there we went in there populating the terrain with different buildings." For scenes taking place on Svartalfheim, production filmed in Iceland with Double Negative adding ruins, mountains, Dark Elf ships, and skies. For the shot of the levitating truck, which was used in the film to demonstrate the strange phenomena brought on by the coming of the alignment of the worlds, filmmakers attached a cement truck to a large hydraulic rig, which could be programmed to change speed and movement. In order to create Algrim's transformation into Kurse, Double Negative morphed live action performances of Adewale Akinnuoye-Agbaje as both Algrim and Kurse. Double Negative then added in smoke and lava-like effects. The film's climactic battle sequence takes place through the nine worlds by the use of portals. Visual effects supervisor Jake Morrison said, "We ended up calling this 'time toffee', so as you punch through from one realm to another it's almost like cling film or a slightly gelatinous membrane you have to pass through. It bends a little bit then rips and spits the person out. The other thing we wanted to do was to make sure it was quite fast from an editorial point of view. In the fight scenes there are times when Thor and Malekith are portaling all over the place, quite frankly. We made sure we always kept up the momentum and never stopped the fight. It was a way of making sure the audience weren't conscious there was an effect going on." Music In August 2012, Patrick Doyle said that he had discussions with the director about potentially returning to score the film. By April 2013, Carter Burwell had been hired to compose the score, but by the following month he left the film over creative differences. In June 2013, Marvel hired Brian Tyler, who scored Iron Man 3, to replace Burwell. Tyler said the previous film had an