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VFX Artists React to AVENGERS ENDGAME Bad & Great CGi

VFX Artists React to AVENGERS ENDGAME Bad & Great CGi
wait how are the duckers in the shot there oh what there were a couple of innovations in the way that we approached thanos facial work in that shark way we had one version that was much bigger maybe you've discovered something that we didn't even intend to put in the movie hi welcome back to another very special episode of visual effects

artists

react

today we are joined by matt aitken now matt is one of the visual effects supervisors at wedda and it's an incredible honor to have him here on the show he's worked on a ton of movies everything from

avengers

end game all the way back to lord of the rings he was in our lord of the rings special i'm the guy scanning the cave troll with the with a really early laser scanner that's so cool tell us a little about what your role is what does it mean to be a visual effects supervisor my role is that i'm kind of the contact point between the team at weather digital you know producing the visual effects work on on a given show and the people at the studio like i work with the team at marvel on the

avengers

films i'm providing you know the finished visual effect shots to them to go into their movie so like when you go to the dentist and you have like the nurse that like works for a while your teeth and then the dentist comes in just like touches everything briefly at the very end is that you basically possibly so

endgame

was actually nominated for an academy award for best visual effects we're also...
vfx artists react to avengers endgame bad great cgi
nominated for the bafta which is the british academy of film and television awards so i get to fly to london to go to the baptist and then come back here next week for the oscars oh wow who knew that a career in visual effects was so uh star-studded city usually it's not one of the scenes that you guys were responsible for in

avengers

end game was the climactic and battle scene yeah that was pretty much what we did our work started when thanos turns up in the eight ship and destroys the

avengers

compound and we go all the way through to tony doing the snap and his ultimate demise spoilers ahead somehow haven't seen this movie wait till you see this next one everybody not everybody i think it worked this was a pretty shocking moment in the movie it's like oh okay so and roll credits shockwave that giant explosion we worked on that a lot because it had to look like it was going to create this huge crater but at the same time it couldn't look like it just blew them all the pieces so we had one version that was much bigger they were like yeah that's

great

but nobody could survive and is that all cg fire was it all dynamics and simulation yep yeah for sure shared the shot with ilm so at a certain point here it becomes an ilm shot they did all this work here we did all the outside stuff you should talk to them i'm sure they'd love to come in as well they'd be like hey i applied for an internship a while ago why the johanni i'm always impressed...
vfx artists react to avengers endgame bad great cgi
by the level of consistency between all the different effects houses delivering the same character in different scenes worked on by completely different people yeah the team at marvel they do a lot of work in terms of giving us each notes we'll show a version of thammos and they'll like aspects of it and they'll take that shot and show it to dd and you know we'll share geometry and we'll share textures you know they're completely different assets so there are two completely different 3d models of thanos that are brought up to the exact same level of quality so you can't tell the difference between them well that's what we tried to achieve i mean i'd say you succeeded i didn't realize there are multiple different versions if you enjoy the show and you want to keep watching well please consider subscribing so that it shows up in your subscription feed and you never miss an episode i thought by eliminating half of life the other half would thrive so when you have a character like thanos it was completely digital but obviously driven by a real actor what are the main steps between him acting and what we finally see in the movie he'll be wearing a suit that's marked up so we'll get his body performance from there and we'll also dot up his face he'll be wearing a head-mounted camera rig they're filming the dots on his face as he performs often what we do is we'll do motion capture that is happening at the same time...
vfx artists react to avengers endgame bad great cgi
as live action photography so through infrared motion capture we can capture the suit dots without polluting the light that the director of photography is creating on the set i feel like a lot of people misunderstand how motion capture works in movies they just kind of assume that the motion is captured and then it's just applied to a 3d model and that's all you have to do and really it'll be amazing motion capture really plays to creating his movement but the number of times that we have raw motion capture data going onto thanos is zero we need to clean it up but we also need to just find thanos in the motion capture performance so some of these fight beats weren't actually josh a stuntman is performing the more dramatic movements and we're motion capturing the stunty but even then he's still not gonna move the same way as an eight foot tall muscle bound right thanos would move so the fantastic animation supervisor at where sydney combo contomo he would dial in what he would call the body mechanic of thanos so he's getting the weight and maybe slowing down the movement a little that's something that we'll keyframe on top of the motion capture data as well when you're dealing with this much armor on a character it can be really hard to animate all of it and have it move correctly and slide over itself without clipping yeah so some people pointed out to us in this one shot of his glove you can see his finger bits clipped through the...
little bit oh i know we missed that oh no is that so that's something that just nobody happened to see it until it was out in theaters yeah i wish we caught it at the time it just goes to show there's always a little bit more that you could do but yeah now we're doing a lot of work on the armor you don't want to constrain what josh is doing on set you want him to be able to perform and then you just have to make the armor work to that so there's a lot of sleight of hand going on bending of things that should be rigid it comes back to that thing of craft you know bringing an artist's hands-on craft approach to sculpt that suit i'm gonna enjoy it very very much can we talk about thanos's face for a moment sure do the pores stretch yes they do there are a couple of innovations in the way that we approach thanos facial work up until infinity war we would go straight from the facial motion capture of josh to the performance of thanos what we started doing on infinity war was introducing this intermediary step which we call the actor puppet we've got the footage of josh from the head mounted cameras we've got a digital josh and then we've got our digital thanos and we can see very clearly if it's deviating a little bit from what josh was doing and then it's actually a reasonably straightforward process to migrate the animation curves from one puppet to the next so what you're telling me is that there's a perfect digital...
double of josh brolin that you can drop into every thanos shot in the movie kind of a little bit like a mission impossible pull off the mask what's harder in your opinion the mouth or the eyes i think people mainly look at the eyes that's often a criticism of digital performance if it's not working that people say that the eyes look dead so we have to get the eyes right and we spend a lot of time lighting the eyes so that they have a nice highlight so we'll put a special light in the scene and it's a little small area light but quite bright then the eyes will pick it up it'll have a very subtle effect over the rest of them so green screen you guys are using a lot of green screen in this as well as rotoscoping yeah how are you getting such perfect edges in your green screen i mean they're good green screens they're well lit and they're clean and then we've got a lot of really highly advanced techniques we're you know doing parts of the hair differently you know if we get something really gnarly you might have to match move in a digital version of the actor and replace the plate here with cg here wow when her helmet comes after is that cg here for a brief moment for the ponytail to flip i think that's just a warp actually and i think she might have flicked her head that's that's the hair of the duck shot wait how are the duckers in the shot right there oh what 17 frames of them ladies and gentlemen in one of the studio...
reviews they were like oh i wouldn't be

great

to get how the duck in the movie somewhere so we had to migrate this asset you know they sent us the how the duck loomer had done for guardians 2. they gave him one of the ravager guns just way too big for him i just noticed that each of those portals have like a different color scheme inside of it and it represented the infinity gauntlet with the different colors yeah i've never noticed that before because you know you've got wakanda you've got the blue of deep space maybe you've discovered something that we didn't even intend to put in the movie if you guys want to see us

react

to any specific movies or tv shows please leave a comment in the description below and let us know and we will take a look at it i don't think anyone's ever seen just so many like heroes on screen at a single time the filmmakers you know they managed to balance all that stuff so that um it's personal a lot of it is um as these little beats you know where we get these character moments changing cameras oh give me that you have a little one and we get you know the reunion of tony and spidey it's that's the stuff that makes it successful you know we we're just really there supporting these these fantastic character moments so out of this entire sequence that what it worked on what do you think was probably the most challenging single shot of the entire sequence there's a little shot called the wanner it...
was the most scary part of the cut for a long time for me but now i can enjoy it so many layers of complexity everything from clashing armies to digital doubles to animation to like real life meaning cg at the same time to explosions we started working on it really early on and it was one of the last shots we finished so we had like a sub team working on it had its own animation supervisor its own animation team who are building the elements of the shot populating the scene we're iterating the whole time so as soon as there's anything that's even half decent we'll pass that down the line to to lightings all that lighting work is going on at the same time as the animation work what's really nice about this is that the characters are a rimlet by the sun so you have to really coordinate where the light is so do you work up like a master lighting position going into a lot of this stuff one thing we do do which is what exactly what they do on set or on location is don't worry about the any sort of consistency to the position of the sun the key light so they'll always put that behind the um the character that they're filming the thing i like to show people that really explains that is it's a scene from the very end of the first independence day movie the sun is always behind everybody yeah which you kind of have to do because if you were filming it from the other side they would just be completely burnt out so you're exposing for the...
shadows we try and adopt these principles because they're established cinematographic principles that work so i know that for these scenes here they actually film on a practical set but do you end up having to replace any of the foreground elements yeah sometimes we do there's a little bit of a set element behind these guys here which we kept because it was appropriate but we did this thing where we essentially lifted the actors off the set and put them in a predominantly cg environment that sounds like a lot of rotoscoping so you basically cut out each character and none of the background is real just the characters are real exactly oh boy wow obviously um tony his suit cg so whenever we see him by himself really the only thing we're keeping is his head anyway iron man this was the last shot that we delivered on the show oh wow and it was about two weeks before the premiere so it was getting it was coming coming down to the y down on the line there you know they had versions of the shop but they kept wanting it to change a bit so we were happy to keep working on it the thing that was really important in the end was showing that tony is suffering all this damage because ultimately it's going to kill him and so we had to know that he was making a huge sacrifice but also it couldn't be so flashy that it distracted away from his performance we had some of those um those arcs of energy crawling right up into his face more and then it was like you just looked...
at that you didn't look at him right you really have to be with him in this moment you've got to be with him exactly so i feel like you guys had a big creative challenge here with iron man dying and that you need to show the wounds are fatal but you can't be so gory or grizzly as to not make this a family film exactly and that was something we explored for a long time through concept art to start off with and it's a little bit similar to the snap we had to allow him to retain his dignity through this through this moment how much of this was a makeup versus digital it's entirely digital so he has no makeup on him on set at all exactly and that was a really good decision that they made to do it that way because if they had put prosthetics on him essentially they would have been locked in to that look yeah get more flexibility by doing it digitally especially when you know you can achieve a photorealistic result yeah it relies on that i read that most of the wounds are actually just two-dimensional tracks as opposed to full 3d yeah exactly we match moved his head but we found that his facial performance was so subtle that we could just using like optical flow type techniques warp the digital prosthetic onto the movement of his face so we didn't have to try and match move his facial performance the other thing was for us we had to sit on the secret for six or eight months and it was like oh my god if this leaks am i in trouble a little we can keep a secret...
here we've never had a leak touchwood we just have to get get down and do it and they were totally on board with us and it was a total surprise for for audiences worldwide can you speak about anything coming up down the pipeline at weta um we're working on the black widow movie which opens soon we you know we have an ongoing relationship with with marvel and it's fantastic you know the work that they they get us engaged in is challenging and diverse and you know they're

great

films there's this

great

kind of like storytelling that's going on with the mcu that it's just really exciting to be part of wow well that's been a crazy episode they're getting all this information straight from the source whenever we're sitting here on the couch most of the time we're kind of just guessing so to actually hear a true professional like say exactly how you achieve some of these incredible results is really cool to hear i mean i've watched some of your stuff and you guys are pretty on to it so well that's really good to hear if you want to learn more about wida go check out their website you know at fx.co.nz there's articles on how some of these effects are done lots of

great

information so do not discount just going and checking out their website it's it's

great

to be here oh thank you matt i really appreciate it i thought you were a ghost it's really spooky for a second there because we're in here hunting ghosts for...
our next quarter video but in the meantime tiny guns 2 just dropped on the corridor youtube channel if you're not familiar with it it's where we put all of our short films so go check it out and this time you give us a

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ion in the comments below go check it out youtube.com