'Everything Everywhere All at Once' directors Daniel Kwan and Daniel Scheinert (also known as DANIELS) sit down with visual effects artist Zak Stoltz to talk about the special and visual effects used in their astonishing new movie. The Michelle Yeoh sci-fi vehicle is capturing audiences and critics with its distinctive take on the action genre. Stoltz and DANIELS explain how their small budget forced them to get creative to create something truly unique.

Everything Everwhere All at Once is in theaters now

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Before the widespread use of CGI, filmmakers used surprising in-camera tricks and optical illusions to fool audiences. Early filmmakers like Georges Méliès could add a hidden cut to film a wide array of illusions. Creative composites allowed for an invisible character in 1933's “The Invisible Man” and for Moses to part the sea in “The Ten Commandments.” Artists literally painted on top of shots to extend sets in “Citizen Kane” and create fantasy worlds in “The Wizard of Oz.” While most of these methods are obsolete today, new technologies like the LED projection used in “The Mandalorian” and the motion-control cameras in 2020's “The Invisible Man” build off these past methods.

Check out more of Julie Turnock’s writing on cinematic effects:
https://www.amazon.com/Plastic....-Reality-Technology-
http://cup.columbia.edu/book/p....lastic-reality/97802

Thank you to Karl Thiede for sharing “The Wizard of Oz” frames from his collection.
Read more about Fleischer Studios here: https://www.fleischerstudios.com/

MORE MOVIES INSIDER VIDEOS:
How Noiseless Props Are Made For Movies And TV Shows | Movies Insider
https://youtu.be/x6btmJSRueE
How Fake Crowds Are Made For Movies And TV | Movies Insider
https://youtu.be/hqIaPkTsGyA
How 8 Scenes Were Filmed To Look Like One Take | Movies Insider
https://youtu.be/E_n_D9bub24

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#CGI #MoviesInsider #Insider

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7 Classic Movie Tricks That Led To Modern CGI | Movies Insider

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The Mask is a classic movie that surprisingly still holds up incredibly well even by today's standards, and even though the movie was a great success, it has never really received all the credit it is due. Maybe this is because it was released in 1994, alongside films like Shawshank Redemption, Pulp Fiction, Forrest Gump, or True Lies, or perhaps it is because of its light-hearted comedic screenplay, but The Mask just wasn't taken seriously even though it pushed the limits of what was possible with VFX and became the first film to have a photo-real 3-D cartoon character using computer animation.

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The Mask movie was loosely based on a comic of the same name which in turn was based on the works of the cartoonist legend Tex Avery. The works of Tex Avery were heavily referenced throughout the movie in various ways: with props, Images, Gags and iconic movements.

In fact, Avery's work was referenced so much that it actually became part of the look and the personality of The Mask himself and for the style of the visual effects.
VFX artists at ILM studied Tex Avery's work and began to build up a library of drawings and clips for use as reference material.

ILM then did a photo shoot with Jim Carrey and then their art department began manipulating his face to get an idea of how far they could go and just how it would look...


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A chrome ball is a key visual effects tool.

How do visual effects artists match their digital creations to real light? Sometimes, it involves using a very shiny ball.

Leo Bovell of Tryptyc has worked on a range of visual effects projects, but one of his most memorable experiences might be shooting in the Lincoln Memorial for an episode of “The Handmaid’s Tale.” His task? Replace the real Lincoln with a completely digital — and destroyed — version. To do it, he used an industry-standard HDRI map of the light in the scene.

HDRIs — high dynamic range images — mesh together different pictures to create a complete depiction of the light in a real scene. After that, it’s a matter of teaching a computer to cast that light onto digital objects. This technique is used for everything from creating entire scenes to providing key references for artists.

Watch the above video to learn more.

Further Reading:
Paul Debevec is a visual effects pioneer for a wide range of projects, including creating the first digital portrait of the president of the United States. His work in HDRIs was equally groundbreaking, and he catalogs it and other work on his personal website.
https://www.pauldebevec.com/

Large libraries of these digital scenes make it possible to simulate a wide range of environments. HDRI Haven provides more than a few worlds to explore.
https://hdrihaven.com/

You can see more of Leo's work at his company's website:
https://www.tryptyc.com/

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The first CGI in movies was inspired by some of the first photos of Mars. This is how it worked.
Almanac Hollywouldn't is our miniseries on big changes to movies that came from outside Hollywood. Watch all of the episodes right here on YouTube.
Episode 2: https://youtu.be/stznrpS3_Gc
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In this episode of Vox Almanac, producer Phil Edwards explores the history behind the groundbreaking CGI (Computer Generated Imagery) in 1973’s Westworld. The film drew inspiration from a surprising source: the photographs taken by the Mars Mariner flyby of the red planet in the mid-1960s.

Designer and artist John Whitney saw the Mariner photos and though their distinctive appearance was a good template — as well as technical model — for the computer vision of a robot character in Westworld. In replicating the NASA achievement, he notched his own historic first for CGI in film.

It's a landmark moment for visual effects, computer graphics, and the movies.

Further Reading:
If you want to learn about how mechanical computers created a form of CGI even earlier that Westworld, check out this article about the earliest experiments.
Digital Harmony explores the trippy work of John Whitney (which also shaped early CGI efforts).
Expanded Cinema by Gene Youngblood is another extensive catalog of early efforts to integrate art and machine.
The most extensive article about Westworld’s CGI appears in American Cinematographer, Volume 54, Number 11, from November 1973. You can find it on some magazine archival sites and American Cinematographer.

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From the first time Georges Melies shot the moon’s eye out with some over-powered artillery, the visual effects of movies have helped filmmakers like Geroge Lucas take us to new worlds, helped Stanley Kubrick visualize our most far-reaching dreams, and helped filmmakers like James Cameron, and John Carpenter bring our greatest fears and impossible creatures to life.

For over a century, special effects have helped Hollywood realize impossible visions. Now, computers, pixels, and CGI have become the dominant force in vfx, but in this movie list, we’re talking about the old-school art of practical effects. This is for sure going to be a long one. So get ready for a fascinating VFX breakdown or two or ten, because we’re going to take a deep dive into the behind the scenes magic of some of your favorite action movies, sci fi movies, and horror movies with CineFix’s Top 10 Practical Effects of All Time.

The Picks:

10 - Body Horror - An American Werewolf in London (1981) - dir. John Landis
9 - Animatronics - Jurassic Park (1993) - dir. Stephen Spielberg
8 - Forced Perspective - Lord of the Rings: The Fellowship of the Ring (2001) - dir. Peter Jackson
7 - Rotating Sets - Inception (2010) - dir. Christopher Nolan
6 - Motion Control - Star Wars: Episode IV - A New Hope (1977) - dir. George Lucas
5 - Creatures - The Thing (1982) - John Carpenter
4 - Stop Motion Animation - Jason and the Argonauts (1963) - dir. Don Chaffey
3 - Everything and the Kitchen Sink - Terminator 2: Judgment Day (1991) - dir. James Cameron
2 - Ship Design - 2001: A Space Odyssey (1968) - dir. Stanley Kubrick
1 - The Birth of Practical Effects - A Trip to the Moon (1902) - dir. Georges Méliès

Movie List Credits:
Written and Produced by Michael Calabro
Voiced by Clint Gage
Edited by Randi Redmon
Animation and Graphics by Casey Redmon

Eight years ago, we published our first version of Top 10 Practical Movie Effects of All Time. We decided it was time to revisit that list, and we hope you enjoy it.

For more tangentially related CineFix - IGN Movies and TV, be sure to subscribe AND check these out!

Top 10 Satires in Film History | A CineFix Movie List
https://www.youtube.com/watch?v=EW7IOdSU5zg

Slow Motion to Speed Ramps: 5 of the Best Shots of All Time | A CineFix Movie List
https://youtu.be/fe6x1h8dZlY

Top 10 Independent Movies of All Time | A CineFix Movie List
https://youtu.be/VSiERa2Cp_E

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Despite what you may believe, Forrest Gump actually had an incredible amount of Visual Effects and these effects didn't just allow Tom Hanks to appear in a variety of historical footage, visual effects were also used for four different reasons... join us as we discover exactly what those reasons are!


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It took James Cameron 13 years to make the follow-up to “Avatar” (2009). That time was spent making the sequel, “Avatar: The Way of Water” (2022), even more technologically groundbreaking than its predecessor. While the first movie’s water-based scenes were actually shot on a dry set, the director and his crew built a performance-capture stage that actually worked both underwater and above the surface.

But to get the clearest reference footage possible, the cast had to learn to hold their breath for extended time periods. That way, Sigourney Weaver and Kate Winslet could act out scenes underwater without worrying about breath bubbles obscuring their faces. The crew could also translate Sam Worthington, Zoë Saldana, and Stephen Lang’s performances to their Na’vi counterparts with even more accuracy thanks to a helmet with two cameras attached to it that was first developed for “Alita: Battle Angel” (2019).

Tools created specifically for “The Way of Water” allowed the crew to see rough CG renderings of a given scene while they were filming it and helped Wētā FX more convincingly place CG and live-action elements in a scene than ever before. The VFX artists could also create even more nuanced emotions in CG with a brand-new system that allowed them to animate deep below the surface of a character’s face.

These new systems would not have existed without developments between the new “Avatar” films on Gollum in the “Hobbit” movies (2012 to 2014), Caesar in the “Planet of the Apes” trilogy (2011 to 2017), and Thanos in “Avengers: Infinity War” (2018) and “Avengers: Endgame” (2019). It’s no wonder that on “The Way of Water,” Wētā was able to create 2,225 water shots while tracking 3,198 facial performances.

Check out more of Wētā FX’s work:
https://www.wetafx.co.nz/
https://www.youtube.com/@WetaDigitalVFX
https://www.instagram.com/wetafxofficial/

MORE MOVIES INSIDER VIDEOS:
How Movies Make Characters Appear Taller Or Smaller | Movies Insider | Insider
https://youtu.be/DbK8JhnqJp4
How Netflix's 'Pinocchio' Created Lifelike Stop-Motion Animation | Movies Insider | Insider
https://youtu.be/RnFrTQ6WKXY
How Disney's Animated Landscapes Became More Lifelike | Movies Insider | Insider
https://youtu.be/L_Zx8j1HYzA

------------------------------------------------------

#Avatar #VFX #Insider

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How Avatar’s VFX Became So Realistic | Movies Insider | Insider

''And the Oscar goes to...''

Since 2000, some artists have offered such beautiful and unforgettable visual effects, that they won the ultimate award : the one for Best Visual Effects at the Academy Awards !

From The Lord Of The Rings to Blade Runner 2049, hope you'll enjoy this tribute video !

Music:
1) ''Tetra'', by SebastiAn
2) ''Sidewinder'', by Ghostwriter Music (Phil Lober)

If you like it, DON'T FORGET to comment, share and subscribe !

As you probably know I can't monetize any of my content. If you want to support me and my videos, here's the links 🙏 :
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#oscar #oscars #FanVidFeed

This video is made purely for fun.

Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair.

From Stanley Kubrick's 2001: A Space Odyssey to Disney's Star Wars spin-off series, The Mandalorian, visual effects are breaking barriers and conventions year after year.

Taking us through some of these pivotal VFX moments in film history is visual effects artist Steven Bray, who's worked on shows including The Crown, Sherlock and Silent Witness.

Join Bray as he breaks down Yul Brynner's heat vision in Westworld, Jurassic Park's CGI dinosaurs and those Davy Jones tentacles from Pirates of the Caribbean: Dead Man's Chest.

#VisualEffects #FilmHistory #CGI

A brief look into a history of CGI in the movies.

MUSIC: Sauniks - Daemon
LINK: https://www.youtube.com/watch?v=jd2hg2ZdLuc

Take a look behind the scenes of digital characters creation, in this step-by-step video. You'll find out about the history, and contemporary techniques used for those spectacular VFX creations.

Last time we talked about VFX, we covered everything up to the turn of the century, where bullet time and CGI were just starting to change the game. But movies today are enhanced (or perhaps overloaded) with a amazing technologies that can bring almost anything to life. Here’s how we got here. Subscribe: http://goo.gl/9AGRm

What did you think of the list? Did you agree or disagree with our choices? Do you have a pick for a so-so movie that’s elevated by amazing effects? Or a good movie ruined by bad VFX? What’s your favorite effects-laden film? What do you think we’ll see next? More 3D? 4D? Smell-o-vision? What topics would you like to see us cover on future Movie Lists?

Let us know in the comments!

THE LIST

O Brother, Where Art Thou? (2000)
Directors: Coen Brothers
This musical’s visual effects are all in the color-correction. And the result is every bit as eye-popping as any monster movie, we think.

The Perfect Storm (2000)
Director: Wolfgang Petersen
Before The Perfect Storm, water was either droplets, or it was a mass of liquid. Computers couldn’t parse the two motion patterns… until The Perfect Storm charted a new course in effects.

The Lord of the Rings (Trilogy, 2001-2003)
Director: Peter Jackson
Peter Jackson and WETA Digital built some amazing AI, so that all those orcs, goblins, and Urok-hai could move independently, and realistically, in MASSIVE battle scenes.

Final Fantasy: The Spirits Within (2001)
Directors: Hirunobu Sakaguchi, Motonori Sakakibara
Not a successful movie - but a successful use of motion capture technology… and we wouldn’t have Andy Serkis as Golum or Avatar without the early, pioneering work of this film.

The Matrix Reloaded (2003)
Directors: The Wachowskis’ movies are perhaps most iconic for the bullet time technique from the first Matrix movie, but Universal Capture, which debuted in the second film, is probably the most notable contribution to movie technology to come out to the trilogy.

The Polar Express (2004)
Director: Robert Zemeckis
The first film to use all existing motion capture technology to create fully CGI performances out of actual movements from actual actors (mostly Tom Hanks) to create all the movements in the film.

Sky Captain and the World of Tomorrow (2004)
Director: Kerry Conran
The advent of the digital backlot - shooting live actors on mostly green- or blue-screen sets, is a fairly common occurrence today (Sin City, 300, and the Hobbit are recent examples), Sky Captain was the first film to create digital landscapes for their characters to inhabit.

Pirates of the Caribbean: Dead Man’s Chest (2006)
Director: Gore Verbinski
CGI characters may have been a common occurrence by this point, but until the crew of Davy Jones’ ship walked (scuttled?) onto the screen, CGI performances and live actors had to be filmed separately. No more, thanks to ILM’s Imocap technology!

Avatar (2009)
Director: James Cameron
Of course Avatar had to make our list (James Cameron does love innovating!). It’s the culmination of pretty much every technique we’ve described so far, plus some 3D thrown in to boot! Most notably, Avatar pioneered the use of live rendering, and facial capture as large-scale set pieces were being filmed.

Gravity (2013)
Director: Alfonso Cuaròn
Even with all the advancements in creating digital objects, creating convincing light on said objects remained a challenge. Until Alfonso Cuaròn’s Gravity debuted a system where lighting was digitally calculated, and then actually projected onto actors faces.

There are lot of work behind greatest movie, unbelievable cinematography Visual Effects and CG animations is very challenge for any director or crew cast member to perform and making very realistic.

Music: Warriyo - Mortals (feat. Laura Brehm) [NCS Release]


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Boris FX is celebrating the 20th anniversary of the introduction of planar tracking to the film and video industry. Widely used for ease of use and accuracy, “Planar Tracking” has become a standardized term in video post-production with Mocha’s unique and proprietary algorithm leading the way.

For 20 years, Mocha’s innovative planar tracking technology has been used by professional visual effects for match moving, rotoscoping, set replacement, object removal, digital makeup, image stabilization, and much more.

Learn more about Mocha Pro: https://bit.ly/30FLFMZ

A documentary revealing the growth of the special effects in motion pictures. From the very first use of photographic tricks and optical illusions, miniature models and matte paintings for such classical tales as "A Trip To The Moon" (1902) directed by Georges Melies and grounbreaking animated stop-motion puppets in "King Kong" (1933) created by legendary Willis O'Brien to the present days where modern filmmakers used practically the same improved techniques with some new elaborations as optical printer compositings and computer controlled model photography, steady cameras and complex animatronics. A interesting look behind Roger Corman's "Android" (1982) with its special make-up and animatronic effects that were designed by John Carl Buechler and also include commentary by the effects experts that were responsible for the visual effects for such films as "Blade Runner" (1982) and "The Right Stuff" (1983).

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Sources / Further Reading:
Inside Hollywood’s Visual Effects Crisis by Drew Magary - https://bit.ly/3LRjvHH
The VFX Industry is Trapped in a Downard Spiral by Drew Turney - https://bit.ly/3C3eDLc
KCRW Interview with Jeff Okun and Craig Barron - https://kcrw.co/3SHMik7
“Life After Pi” Documentary - https://bit.ly/3xZiojt
Pressure, Crunch, Blacklist Fears: The MCU’s Visual Effects Artists Speak Out by Logan Plant - https://bit.ly/3LTw05k
“I’m a VFX Artist and I’m Tired of Getting Pixel-F_cked by Marvel” by Chris Lee - https://bit.ly/3rhtOer
Abuse of VFX Artists is Ruining the Movies by Linda Codega - https://bit.ly/3ClgV9z
Fighting for a Piece of the ‘Pi’: The Full Story Behind Hollywood’s Visual Effects Problem by Bryce J. Renninger - https://bit.ly/3roDOm8
Editing the Buttholes Out of ‘Cats’ Was a Total Nightmare for VFX Crew by Laura Bradley - https://bit.ly/3SMLY3J
VFX Protest at Oscars by Jeff Heusser - https://bit.ly/3V2WoOH

Music:
Lex Villena - “6” - https://bit.ly/2BtObLD
Lee Rosevere - “What’s in the Barrel”, “What Happened in the Past Doesn’t Stay There”, “Slow Lights” - https://leerosevere.bandcamp.com/
Chris Zabriskie - “Cylinder Four”, “CGI Snaker”, “Perhaps It Was Not Properly Manufactured” - https://chriszabriskie.com/
Dyalla Swain - “Psyche” - https://soundcloud.com/dyallas

You can follow me through:
Website - https://andrewsaladino.work
Twitter- https://twitter.com/andymsaladino
Vimeo - https://vimeo.com/theroyaloceanfilmsociety

Documentary for my college assignment named 'Specialist Subject Study'. I chose to base it on The History of VFX (visual effects).
Sourced, put together and edited by Adam Ioannou.

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Visual Effects or VFX are a big part of screen production, and in this video we'll answer all your questions about it.
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