VFX Artists React to Bad & Great CGi 6

he's like, no, you see that face, it's like, oh hell no, that hand on the finger is a really good example of where this starts to get really complex, there's a lot more going on in the shot than you think. Hello, welcome back. to another vfx episode

artists

react

to bad cool cgi so today we're joined by sam hi my name is sam what's up sam hey im the guy in the background here it is my background reel, I'm kind of like Bigfoot. from vfx

artists

react

series okay let's jump what are these screaming kids? it's this silent hill 2 no it's not just world war z she fell oh oh no what's that what the hell man oh disgusting captain planet he's retiring from there Green Lantern are his limits are just his knowledge of military history that's his only limit conjuring a gun i was like oh this aaa gun from 1942 dude he's so confident he's talking to the camera is this the kevin spacey moment like the house of cards here, oh here we go military history it's a propeller, It's from Kitty Hawk, it's like he never fought in real wars, but he did go to the Smithsonian, why is there an asteroid field right there?

I missed it, I must have missed this, wow, he's doing. It's falling, dude, wait, oh, it's all two jets, what's up with the giant fist technique? Yeah, he's a one-punch man, he's just a one-punch man, they'll probably save him, there's no way he's falling into the sun, okay, who are you, who are you, which one? You are the red lord, yes you are the lord, yes you are the mohawk man and then I am gorgo. directs ryan reynolds, so i think he's wearing pajamas to all this stuff, that's how they did it, ryan. Reynolds' body and Ryan Reynolds' mask are one hundred percent cg for some reason they thought you already knew what we could do.

We just do his whole body cg of him and we'll trace something on his face, easy. I can see why they would want to do it. Do this because he's a magical guy with all this energy coming out of him and he's constantly conjuring CG stuff, so they're going to need to animate his body for most of these shots anyway, it turns out there's still something on someone's face in every shot. and making the film is very difficult because your skin moves all over the place, you can't just follow an object, you need to follow it, warping and stretching, and the mask is distracting and honestly, it's like that's the number one thing in the moment.

At the end of the day, if you've distracted the audience, you bring them out of this emotional suspension of disbelief and remind them that if they're watching something fake, it's crazy to compare how far we've come and where it's like them. they have this suit in green lantern, but then they have the time travel suits in the avengers endgame and compare this to that, you know, avatar was basically the first 3d movie in the renaissance of 3d cinema , Sam and I when we were in At the beginning of our career here we did a lot of visual effects for 3D work, stereoscopic work, oh God, and camera equipment for that stuff, basically, I don't know if you guys are familiar with the red camera , the original red camera, but it was that big, if you wanted to shoot in 3D you needed two of these cameras and what you had to do is have one looking sideways at the subject and he mounted another one underneath pointing towards a mirror at an angle because you couldn't put They're next to each other, they're too thick because you need the cameras to be, you know, just a few centimeters away to simulate the distance of your eyes.

It is a disaster. It's the worst way to film something you know in order to film a movie like Avatar. you can't be running around with 80 pound gear, it's impossible, so they did everything in CG because that way you can just duplicate your camera and move it around and get your CG camera. Now they film some things for real, but it's an easier process to make a movie like this in 3D when you're shooting it in CG nowadays, you're probably familiar with VR or Vive or Oculus, that kind of stuff and those little systems with 3D tracking.

Now imagine 10 years. You have been James Cameron for a long time and you hire a whole team of engineers to create that technology tailored to you and what they can do is use these small screen devices with motion tracking and they receive real-time information about what the virtual camera is doing . You would see that it is like looking through a virtual reality viewer. Also a fun little fact, in my opinion, Avatar was the first movie to have water flowing in a river in a completely photorealistic way. There is one shot in particular that stands out to me and I wonder if it is still seen.

As good as I remember look that look that looks cool that's crazy like it's amazing yeah that blew my mind when I saw it in theaters I'm like water is real but it's not out of everything in avatar this is the one What I removed is the water in the bottom third of this frame, which is something that stood out to me the most about the images in this movie, so if you're enjoying the VFX Artist React series, you might want to consider continuing. for our patreon our patrons can vote on one of the scenes we react to in the vfx rs react series and this time they chose 300 so let's jump to this was the first movie I saw where there was an exorbitant amount of Spear Drilling and sword and it's so visceral.

I also love getting in and out of the camera. Yes, it is very well done. The CG blood is pretty too. It's stylized but it's cool. I like it. They use it as a zoom lens. put them as a camera next to each other I'll tell you later in the scene wow, you know everything that was my favorite part, going up right here the cut of the leg the cut of the leg oh yes, very good, yes, that's it cool, you might not be able to tell but this scene is basically like six guys in front of a green screen, all that background and everything else that's fake, it's just Gerard Butler and a couple of muscle guys stabbing these guys and one of the things I did to get this amazing effect.

You'll notice there's a lot of slow motion if you zoom in while in slow motion, it only takes a tenth of a second to zoom in and you're filming it like 10 times slower than normal speed, meaning you had to zoom in at 100 that speed in time. real it's like it's impossible, it's physically impossible because they actually had multiple cameras set at different focal lengths and they were filming the whole fight scene in slow motion in one go and they weren't doing any crazy camera work. work or something, it's just a wide camera, a medium camera, a close camera and that's it, they're basically stitching one shot to the other so they hit the wide shot and as you get closer the close up shot it's kind of coincidental and then that fills the frame and now we're in the close-up shot and it's not all low resolution and blurry because you're not just cropping the wide shot, approach this scene super simply, but combining some of slow motion, some ramp and obviously

great

color work and a good CG background, those abs look

great

, that's really the key here though, it's like the real 100 abs, no CG there, if you guys would like to be able to vote. scenes you want us to react to, head over to our patreon.

There is a link in the description below. If you like what we do here, consider supporting us to make all of this possible. Back to the videos, I'm halfway there. it's all hand animated too, all this stuff, a guy gets hit in the head by the bagel and when that happens the word bagel comes up, yeah, bagel, so there's something really cool that's happening subconsciously in this scene, no you're aware of it, but it's just selling an emotion, so most animations, like real cartoons, aren't animated at 24 frames per second, most animations get away with 12 frames per second , so they do it at half speed.

He is animated at 12 frames per second like a classic cartoon. you can actually see it here, the camera moves at 24 frames per second, but miles is frozen every two frames in this shot, that's cool. Peter Parker, the more refined the better Spider-Man, is animated at 24 frames per second per second. Movie that is great. What this does is show you that Miles isn't completely dashing, but he still hasn't learned how to be Spider-Man as he gets better and better as Spider-Man. He is converting at 24 frames per second. It's a great idea. The character feels a little clumsier and you feel a little more fluid.

I can't wait to finish this movie. Now we have a lot more cool shots to react to, but I bet you do too, so if you have any ideas, leave a comment below and I'll check that out too, back to the VFX shots, yeah man, I was excited when I saw This was the scene that promised us that these Matrix sequels were going to be good, they made us a promise, but they didn't keep it, it's like that. cool scene, I love the choreography though, yes the movement here, look at this, look at that choreography, I know parts of it look fake, but a lot of it looks really good, I agree, they are very very realistic, love to this guy, the camera movement, wait, so the whole dog pile is that, um, I think it's all cg, really, this is cool, so you might think it's like, oh, it's just one shot cloned, but a lot more happens in the shot than you think.

These guys in the background like in the background. They're just guys that look like Hugo knitting, as you can clearly see he's just another guy, he's just a guy with the same haircut right behind him, those are CG heads and they're flawless, it helps that they're not excited, yes, a script. King is the exact opposite, so here's how they're doing it: They're recording Hugo Weaving in a photo capture scenario that they set up as multiple cameras recording him with uncompressed data feeds and he does his thing, whatever he wants. be. So they basically scan his face in real time while he's performing and they also capture all the skin texture information from him while he's performing.

I love face masks like this so there's the catch, it's actually really creative. way to make CG faces for people, you don't have to have an artist come in and animate where the wrinkles are and try to do all that stuff, you just heat up the fabric, just do your thing and capture every frame and it's done, this is it exactly the same technique they use for noir, it's just a black alley that you get like the low resolution texture in the low resolution polygonal version if you just increase the fidelity of that, that's what you get here, but look at it.

You can't tell the difference between the CG and the reel. Both are identical. I think it was 40 terabytes of data for a video capture of Hugo Weaving's performance. I imagine these models of these faces were so high resolution that people I can't even remotely see them in real time, they probably feel like they're in front of a terminal and they're like computers and they walk away for an hour and get a frame . It's definitely a testament to the automation of the CG process. less artist's hand you can put on your footage, I think overall, the more realistic it can look, dude, bold, keanu reeves, we're one of his biggest fans and, uh, apparently he's one of our biggest fans, he stopped by to spend the coming night.

Come down and joke with us, go to the youtube.com corridor to watch it ooh, the mask, I saw this movie like a month ago, were you really with my son? I loved it, it was like playing with blocks, man, something old school like Looney. melody effects here, but man, what a great clever use of visual effects to make some comedy, so we're going to look at some really messy images for a second here and you guys would be surprised to find out that these images are in all of them. The Simpsons episodes like these weird, messy images, yes, on purpose, yes, they're all there on purpose, so what you're seeing here is a technique known as smudging, so in animation there's no such thing as blurring. motion because We're just drawing one frame and then drawing the next frame and drawing the next frame, but the motion blur is what tells us the motion blur is what tells us the movement.

This is something I've always been aware of, but I've never stopped to look at a frame of Jim Carrey's character. He likes cartoons. The mask is his realization of these effects that came to life, so what the animators had to do. smear in real life, I mean, you can see it here, he's running with his feet, that's technically smearing right there, yeah. There we go wow so they're actually taking a cartoon effect here and replicating that in real life on film and trying to make it look real look at his hands there and the way the board smears like it's not out of normal motion blur, that's an artist.

By going in and animating these blobs, you can also see it really well there, like the face is crystalline and now there's a long, stretched out head behind it, obviously, if that were a blur ofreal motion, everything would be blurry, yes that's cool but they're being artistic with this it's an ingenious use of technique to make your cartoon character exist in the real world it's a visual effect that hasn't been done anywhere elsewhere no one has done spots in real life yeah ooh Star Trek one of my favorites is this original star trek the old man the oldest wait why are we watching the original star wars fight scene? the scene is said are we talking about cg addons yes dope vader dope vader man what is this when i left you i was about to learn now i am the master, just a master of evil.

They're fighting like legit, oh man he's got moves. Peter wasn't even looking, he didn't need to look. Whoever the Force Man has called is that CG set that has to be how they get Obi-wan, did they deepfake him, buddy, the fire on his arm as he It swings feels pretty good, I like the little reflections in the eyeballs, yeah, okay? This is scene 38 reimagined by YouTube channel, fix it and post it, fix it and post it guys, if you want to see the scene, you should head over to their channel and watch it. We will have a link in the description below.

Really, really. I like the scene and I think it was really cool for them to do this and now they're working on it for a long, long time too. Look, look at Vader's helmet, you see the real light reflections on his helmet. Yeah, so those lights. If we were there on set, I feel like really the hardest part of this whole scene was putting Al Guinness's face on that actor, so they're using shots from the movie, so they would have to stabilize the original footage and retract it to his shot you can't win the earth if you take me down I will become more powerful than you can imagine that image of Guinness's face is not from this moment in the scene so the lighting does not match yes, it is like a 3D Model, it is a 3D model, you know what the way lightsabers are shooting in front of his face, the hood that covers it and all this action really goes a long way to covering that up because it just seems to be something that you look at. out of the corner of my eye don't waste your time making it more than it has to be for me what this theme really does is it speaks to how powerful the individual has become in the world of visual effects when you can have just one couple of people, if not one, sitting around redoing this scene from a classic movie and possibly making it even cooler from their bedroom on their computer and that's the world we live in these days when it comes to visual effects, it's pretty cool. you look like a lone blade runner what an amazing movie amazing one woman is a hologram the other one is a hired prostitute that's so weird who are we guys ryan gosling is like um he's really sweaty now he says really yeah this is one of the scenes great in the movie because she's weird but she's also great and you can't turn your back on her, so you're probably wondering: they must have practiced this a lot.

It required a certain amount of practice because they both had to do the same performance. but that hand on the finger is a really good example of how this starts to get really complex, it's not just two transparent images on top of each other, yeah, they're like a crop, they feel like, yeah, Crop to make that fingers and these two bodies move in and out of each other in 3D space, they basically have to take the performances that they have and then also project them onto rough 3D models of the characters. It's called projection mapping. it's a very common technique used in visual effects, it's like those sidewalk paintings, those chalk drawings where if you stand at the right angle everything lines up in one image, our really old video, brush with death, brush with definition, that was it. projection mapping that's how it made the effect of like the graffiti coming to life or like it was stretching and lining up and appearing in real life, we just projected it onto the map, let's imagine trying to animate a 3D model to align it perfectly with the footage. just so you can re-stamp that footage so you can go in and out of each other in a 3D space and that's very complicated and it's super, super, super complicated, it also looks super cool and it was worth all that work.

It's also an effect that has a very deep emotional purpose for the character and makes him even more powerful, which is why you know that Blade Runner 2049 has the best digital human I've ever seen in my entire life, truly remade for you, so than Harrison. Ford is completely cg, yeah, I didn't realize until we were sitting on this couch that that woman over there was completely cg, oh she was cg, yeah, I didn't even understand this scene when I was watching 2049. I didn't even I realized. My name is a professional visual effects artist, well, I was thinking, did they find someone who looked and was very similar?

What they did was they went and to show that they could do it, they recreated it in other scenes from the original Blade Runner, that's crazy. it's absolutely crazy because they're also simulating like a light anamorphic, yeah, the depth of field, the reason this works without an amazing experience is that there are no extreme expressions, there are no extreme movements, solid directional lighting, that's what That did it for me, yeah, the movement is a bit. weird this bullet in my brain is making me dizzy you don't have like a button you can press to kill this robot you know you did it why do you have to shoot it like it stains blood all over your office next door some work or they'll shoot your knee out there , yeah, two million credits, space credits and stuff, if you love this series, fxrs react and want to see us do more of these really cool concepts, please consider subscribing to the channel.

In fact, we have some cool projects coming up. I got another motion capture suit from Accents and we have some really crazy ideas. Do you want to see us try to do an obstacle course where we put on the motion capture suit, but all the obstacles are virtual, so we have to look at a screen and I like to try to figure out where to do to complete this course and in running back keanu reeves keanu reeves came out and decided to prank us for a video we were filming at a gas station and it got stolen.

Wow, who would have thought? You could go to the corridor and check it out if you haven't already. You want to see us react to something. Leave a comment. Finally, the whole weekend. All those things. So enjoy this weekend. This weekend is on us, but you know? Are you dating the crew? Know?