Just as the Oscar race starts heating up, Harry Potter and the Deathly Hallows: Part 2 came out on Blu-ray last week (Warner Home Video), bolstered by a compelling FYC trailer (see below). As expected, the exciting and sublime finale looks and sounds spectacular in the home theater. Director David Yates wanted to end on a stirring operatic flourish in 3-D and he succeeded. The question now becomes: What are the Oscar chances for the most successful film franchise?

Well, as I’ve already commented for TOH, Part 2 is a definite contender for VFX (supervised overall by Tim Burke). It’s the culmination of superlative work that put the London industry in Soho on the global stage, and is worthy of the highest honor. From the first-time CG Hogwarts by Double Negative (demonstrated nicely in the Blu-ray’s “Blowing Up Hogwarts” in Maximum Movie Mode) to the thrilling Gringotts break in and escape on a sullen dragon (also Dneg), to the Room of Requirements escapade with fire creatures (MPC), to the Hogwarts battle (Dneg and MPC), to the ethereal encounter with Dumbledore (Framestore), and the final confrontation with Voldemort (MPC).

“Environments, especially, have been a breakthrough, says Burke.” It’s all HDRI, and that way of photographing textures has given us incredibly detailed shots and the ability to relight things. It’s all based on the proprietary tools to stitch this stuff together and make it work.”

The biggest achievement, in fact, was Hogwarts, which was computer-generated for the first time both for budgetary and artistic reasons. “Basically, we were able to design and execute shots right up to final delivery,” Burke adds. “It gave us a lot of flexibility. We were able to render things quickly without fussing around. It seems to me that we can turn around iterations so much quicker than ever before.”

Since the ongoing war takes place at Hogwarts throughout the second-half of Part 2, it was essential that the battleground display sufficient detail and dynamic compositions, particularly since the final film is the first in 3-D.

“David wanted to create these fantastic, big shots that link different parts of the action in different areas, going from outside the school to inside the school,” Burke continues. “And all of the development that we’ve done and the extra high-resolution that we’ve corrected for have allowed us to fly around [immersively] during critical moments of the battle, and has made the whole experience very visceral.”

Aside from VFX, though, there’s plenty of other below-the-line Oscar potential, including sound mixing and effects. But Stuart Craig’s production design has progressed brilliantly throughout the franchise. Indeed, the eccentric retro wizard world has been a continuing character: Hogwarts, Diagon Alley, Gringotts. Plus the safe haven of the Weasley home, the Burrow, and, toward the end, the heavenly visit with Dumbledore at King’s Cross Station with white mist (also Framestore).

Finally, Alan Rickman’s mournful performance as Snape is a revelation along with Daniel Radcliffe’s ascension into manhood. Aren’t they Oscar worthy? And while Best Picture seems a long shot, we’ll have to wait and see how the nominations turn out.