Wired has released a video dedicated to the special effects of the movies nominated for “Oscar 2020” in the category “Best visual effects”.
Method Studios head Kevin Bailey took up for consideration are five examples — “the Avengers: Finale”, “Star wars: Skywalker. Sunrise”, “1917”, “Irish” and “the lion King”.
In the case of”the Avengers” , he drew attention to the advances in technology motion capture, which is most clearly manifested itself in the case of Thanos and the “smart Hulk”.
Previously, the points used to capture, could not account for small movements of the person that occurred between them. Therefore, including an effect of “uncanny valley”.
Now, however, came to the aid of a special algorithm. Today, the capture point is used for more General understanding of the actions and movements of the actor, and then the desired material is passed through a special program that “completes the necessary blanks.”
In the process of “learning” the program examines a large amount of training material, understanding how the right should move the face. To do this, use a high-quality scan and include different light sources, studying the movements of the skin. In addition, actors are asked to show the maximum amount of emotion, tracked machine.
In the film there is about 2,500 thousands of shots with different visual effects.
Regarding “Skywalker. Sunrise” in total it was noted three points:
- a combination of real footage and effects
- the creation of a separate system of water
- the reconstruction of the image of Leia with a computer.
Despite the fact that on set often used puppets, their movements had to be modified with graphics. The same applies to many elements of the environment that are created on the computer.
During the battle scene a pick Ren and Rey on the ruins of the second death Star was used a mixture of real water, which helps actors to keep track of the right moments, and the graphics. Under this scene just developed a new system of water.
And Lee in the ninth episode with effects painting clothes and hair, composing footage from unused scenes from the seventh episode.
By the way, Bailey started working in the industry for the first episode of the same “Star wars”. And according to him, artists are now much less restricted in working with the effects, compared to previous days.
In the verse, “1917” the most attention to Bailey was paid to the combination of real photography and computer graphics.
For example, the scene character jump shot thus: the actual actor starts to jump over the wall, and then in the process it was changed to a digital counterpart, which falls into a moving river. From this point on in the scene plays normal actor, while filming it all in another location.
Another important point was the creation of an atmosphere of war. Many moments in frames was specially finished to achieve the desired effect — the tanks, ammunition and so on.
Such effects are called “invisible”, and they primarily work to support the story, rather than just spectacle. Bailey said that is his favorite type of work with CGI.
In “the Irishman” is the most important aspect was the well-known “rejuvenation” of the actors with the help of graphics.
To achieve the desired effect, you created a virtual mask, and the scene was shot on three cameras: one normal and the other two were “witnesses”. One of the cameras was the infrared, thus allowing you to monitor what is happening on the site without the need to change the lighting.
We used the program Flux Studio Industrial Light & Magic, analyzing every movement of the face. She recognized the movement and created young versions of the main cast, and then they were applied over a modern appearance.
Young images of faces were created by analyzing thousands of video excerpts and photos of actors from previous works. This procedure has enabled the program to pass the necessary “training”.
The main achievement of “the lion King” became the world itself, almost entirely created with CGI.
By and large, the authors have developed virtual tools that allowed the film crew to use a real camera for the desired movement and camera angles, tracking them in a computer “reality”.
This helped to convey the feeling fine roughness, which are always present in real life, without turning the picture into an unrealistic ideal.
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