VFX Artists React to Bad & Great CGi 25

published on July 17, 2020

Wait is she petting Taylor Lautner hahahahaha viewers beware you might be in first gear here so the unique thing about this setup here hi everyone welcome back to another episode of visual effects artist react we are here once again in the studio during the

Pandemic socially isolated in distance hey click you want give me a high five over n you know I feel like we're in a car right now and like Rhenish this in the backseat ha ha ha all right we got some great V effects some bad V effects

And everything in between to break down with you guys today you guys give me a lot of crap for not seeing movies but this is a trilogy I did see you did see this no I just read all the books so look at this wolf here doesn't look bad

Like the wolf effects are actually pretty solid in these movies good hair soon that hair interaction with their hand there yeah it looks really good this wolf would have looked even better like don't get me wrong it looks great

Right this is beyond what I could do but the one thing that stands out is the wolf's shadow on her one of the challenges about doing fake shadows is that you can't just put a dark layer over your your object to simulate a fake

Shadow you have to deal with blocking the reflections and like how that's shining off the surface and that gets some really complicated and for the most part you just see what they did here which is some soft vaguely dark shape

Just moves across the person and that's why I like when you shoot something like this it's always key to have reference so if you know you're going to be putting a fake shadow over her then block her with an actual shadow at least

To see what it actually is doing so before we actually continue I want to look at the behind the scenes to the shot real quick it's she petting like a green stuffed animal it's far more awkward than you realize

Is she petting Taylor Lautner oh no why did you do it this way he's not even talking to you yeah he's literally just standing there but that's not the most awkward part oh no and you can totally tell both of them

Are incredibly uncomfortable about it and the worst part is it's so unnecessary they didn't need him in the shot here you know it's funny cuz like this is the kind of thing where like the directors that I need the actors on set

So they can have they can have real moments and be spontaneous and feel it out and they're right like they're having a real moment a real awkward moment you can just see in her face she's like what am I doing with my life

Here's the thing though is like the final result not that bad no that's that's the thing the the effects company that did this actually did really good work here like the fur looks excellent and the compositing here is actually

Pretty solid I want to make that clear so this is how I would have done this differently your note about the shadow is actually a pretty good one so what they probably should have done is just come out with the giant wolf shaped

Cardboard thing which they have had for these movies to kind of show like the people on set the scale of these wolves they need to just have that there to actually have negative fill against her body there but overall I think this

Looks pretty good yeah overall looks great really is it really Taylor Lautner went from this to Twilight Wow is that a stunt kid or is that Taylor Lautner okay we launder it yes Taylor Wow – Taylor had some rad talent

Shows at fourth grade huh there's always the kid that did both staff moves in the talent show was it you Clint no whoa Wow whoa dude what did I sell Sam rolled up this is one of those movies that they filmed entirely in a

Single room do that hair feathering if you ever wonder why the edges are always so blurry back in the day and so soft it's because our hardware is not powerful enough to actually capture all that data when they shot like the

Prequel movies and they're seeing that all in digital or they shot this you couldn't capture all the color data as well as your luma data so we want is like your black-and-white how bright things our color is what color it is

Most likely they're shooting into a 4:1 one compression and what the heck does that mean for every four pixels of luma data you would get you'd only get one pixel of color data so the problem that you would run into is if you're filling

Somebody on a green screen with a digital video camera you would have big blocky chunks even though it would look good when you just look at it with your eyeballs the actual color data the actual green was 1/4 of the resolution

Of your image so the edges will look chunky and you'd have to blur the heck out of it which is exactly what you see on the blurry edges of Taylor Lautner here these days you don't do that anymore

With full-on 4 4 4 video spaces or for every single pixel of luma data you have a pixel of color data and that's how far we've come these days there's like a really high budget Nickelodeon episode I know yeah it knows what its audiences

You know it knows that its audience is not gonna care about the look of the CGI kids don't care about that sort of thing so when people subscribe to our Channel when watching these videos it actually helps the videos get out there and get

Seen by more people so if you're not subscribed please consider doing so it helps us out and helps guarantee that you will get to watch the videos when you want to see them only to point out and make public the

Dishonesty the downright ability so I have never seen this movie you've never seen Citizen Kane have you ever seen Citizen Kane I have not seen Citizen Kane isn't it like the film school classic film school movie yeah the thing

Is when you watch her like this is okay I guess why is everybody raving it's basically because Citizen Kane is like the first modern film and it senses like how it's shot how it's approached how it's edited for example you can see the

Ceiling in the shot you would never see the ceiling in old films because the ceiling never existed they would always just had the ceiling be gone so they put lights in there but Orson Welles was like you know what I want to feel the

Space I want to get low angles I want to make him feel tall and heroic and other things like that imposing they also made the film were really cheap they did not spend a lot of money on it like what like a buck fifty three-fitty

But there's one shot here so the film was made for cheap right computers don't exist why don't you guys to tell me how do you get a crowd shot I mean we all we all did the Star Wars Episode right is that a matte painting yeah it looks like

A matte painting it is not a matte painting well it's kind of in that picking but matte but look closely at the people in the foreground they're moving I'm convinced it is a matte painting but what is the book it

Looks like I see like slight like head motion like maybe like some hand motion but all I'm seeing are just like blinking lights yeah do they like punch holes through and like play a little light out of thing gosh yeah they cut

Out so it's a matte painting they cut out a little sliver around each head and they have a sheet basically of light behind them moving around and it gives the impression of the heads just moving a little bit from

These little like white rims that shift around on their heads oh no way it's such a awesome clever trick to make a moving crowd here it's it feel dead without it if it's just a picture like you can't do that the thing that blows

Me away is how how inventive they were to come up with that idea on the spot it's not like there's no tutorials to read online you can't just go google it you can't try it out really beforehand it's just like yeah we'll just paint it

Because we can't afford a crowd it's black and white so I can just paint a crowd really quickly or take a picture of a crowd and then we'll cut it out and put lights behind it and that will sell the effect

Trust me I'm making this up as I go but it'll look great we should look more old movies like this you know like look at some really revolutionary the effects from yeah you know eighty years ago so if you have any ideas for old

Movies that have some pretty interesting solutions to achieving visual spectacle leave a comment down below we'll take a look and review it in a future episode G Pan's Labyrinth was a great dude Pan's Labyrinth I made fun of Pan's

Labyrinth I was like what are the stupid movies dump bomb and it came out I was like I was watching panes labyrinth let's get ready for a good laugh and I was like oh my god this movie is a masterpiece it's incredible so the

Unique thing about this set up here are the Fonz legs basically you got Doug Jones a very famous character actor playing the role of the faun here this is all practical use and a full you know full deal makeup now click new a little

Story with Doug Jones we're going to film shadow of mordor Clint was going to be playing an orc it's gonna be Clint's first time being all in makeup doing a full creature and Clint tweeted at Doug Jones I haven't go out I'm gonna be you

Know an orc makeup for three days straight gonna try to channel my best Doug Jones and Doug Jones tweeted back you got it good luck do a great job holy crap I sleep in the orc makeup because it was

Too it was too hard to get off yeah we shared a room for that trip and every morning I would wake up and look over and see an orc in the bed next to me there's a friggin makeup and the pillows pillow come with me now real human

Beings legs obviously don't look like that these legs are all twisted and backwards and whatnot Sangay legs did he go full method and just break his knees backwards to do this you know he probably offered to so his legs are

Actually at the front where his knees are basically his legs were just covered in like a green-screen suit and they're basically having to key up the legs and it was a painstaking process for the entire team because they had to replace

The stuff that the leg was occluding yeah that sort of process is never as easier as straightforward as people think it will be Oh such a pain man his feet are on top of the actual real costume feet too which makes this even

More difficult because they have to paint back in the top of the foot that's being occluded by his actual green screen feet yeah not to mention the hole in the bottom of the knee where his legs coming

I hold the bottom of knee as well yeah but you know what the final results is really convincing absolutely wonderful you guys I think it was cafe affects the the visual effects for this movie fantastic job so they actually did the

Same effect on another creature in this movie the pale man the skinny man oh yeah what a cool creature design ah the best don't eat the food don't eat the food yeah so as soon as she eats the food

She's done for run girl come on look at his legs you see his thighs right there yeah super skinny they're just frickin little skin bones little chicken legs yeah skinny legs is freaky man so Doug

Jones is once again playing the pale man here and it's basically the same setup you know he is in a full body green-screen suit and they're basically having to key up the legs see this is an example that works really well for doing

This method compared to the faun which we saw previously in theory it's the same method for both costumes but one is significantly easier than the other specifically because for this pale dude here we're looking at his front side if

We were to instead look at the backside that would probably require a different costume and once again this like assuming you had a costume this is actually an effect that you could do because you just put the costume on and

You know put a green screen Sudan and I have to do is paint out your legs like you know they're doing hard camera movements here but if you had the camera on a tripod it's almost trivial especially if you designed the costume

In a way so you don't have to like have it be occluded by green screen legs I mean we kind of did that with a gizmo duct that's true we did kinda just that gizmo duct biers mirror you might be in first gear here in for scare

First scare too spooky for me just know it's V effects guys come on it's me effects here oh man you I know how I got these scars Oh feeling that string run through your skin wait so you're telling me this is a V effect and not a

Prosthetic it's both so how do you guys think this was done my guess is that he's got a little bit of a prosthetic lip attached to his real lip and then they cg2 cut going back through his cheek my

Guess is that the cuts in front on top of his skin and there's he racing his skin underneath whoo yeah I'd say Niko's closest so basically he's actually going through like silicone it's a prosthetic that's over his mouth

And he's actually stitching that together he's getting really close to his actual face but he's stitching that together he's pulling the string through that's all real that you're seeing right there they basically have like a little

Stretchy blue screen just inside of the prosthetics only opens his mouth it reveals the stretchy blue screen Wow you can always add to the face but you can't subtract makeup and that's been like the big thing that makeup artists struggle

Against like how do you give a character with no nose like well I guess you have to just build up the entire face until it's in front of the nose and then you can make no nose or in this day and age you can you see G to remove things how

Do they do Baltimore Baltimore they erased his nose so like if you actually see like raw behind-the-scenes images of Voldemort he looks exactly like Voldemort but with the nose and it's really weird it's just once again a

Great demonstration of like practical and CG like make everything as practical as you can and then use CG to fill in those little bits that would otherwise make it impossible so sweet dog has asked me bring two parts back to life

For music videos new visual effects newly shot scenes you want to present to you a re-imagined version of Charlie in the Chocolate Factory I'm gonna put a nerf blaster on a drum get your turn out of the air challenge

Accepting thanks for watching everybody we're back to the suti here recording this as safely as we can but while we remain safe I hope you remain safe as well navigate the rest of this pandemic I'm sure you'll start to wind down soon

Hopefully but in the meantime we'll make sure that we're here every Saturday for you guys to be entertaining if you're not subscribed already please consider doing so and on to the next one I want that but hair dude

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