I have yet to see the film, but have been in the thrall of it’s visuals and design since the first teaser images appeared last year. This concept reel by Ash Thorp is stunning, a work of art in itself.
Public holiday today, so exploring a tangent with a sketch.
I spotted this short paean to computer generated visual effects on Twitter earlier today. It’s premise is that CGI visual effects are actually good for movies, and that it’s only considered to be a bad thing, because we only tend to notice bad CGI, whilst most CGI, the good stuff, is invisible – there are some overdue nods to superlative digital environments in there, including those for TV.
I’ve been generating CGI since 1995, which is a bit like the time in the middle ages, at the cusp of the renaissance in the context of computer graphics history. Back then I was constantly having to argue the toss and justify whether what I was doing was art/design/creative/valid, and we are still fighting similar battles now. I too get frustrated with the bad and unnecessary CGI, but equally, I still love to see the good stuff – particularly so when I don’t spot it until it’s pointed out to me later on by the likes of Cinefex, or via VFX breakdowns on the web.
This visual essay makes the point that CGI is great for some things e.g. environments, crowds, vehicles, etc, but not (yet) great for others – digital characters are still something of a work in progress. It also rightly asserts that many films and TV shows wouldn’t have happened without superb, affordable CGI. A good example being Game of Thrones. All tools have their place and value, whether they are practical or digital. So, I’d like to say a huge thank you to Rocket Jump Film School for articulating what I believe, so passionately, and far more eloquently than I am able in this short video.
I recently finished reading through this brilliant look at mattes and miniatures. Don’t be put of by the cover, this book is an excellent memoir from MGM’s head of effects during Hollywood’s golden age. The manuscript, that Gillespie penned in the sixties, has only recently been published, and so it does suffer from slightly below par photographic illustrations, but this is amply compensated for by their quantity, coverage and the privileges of the authors extensive access.
Penned decades before the pre-digital era, the focus of the book is made up of practical and optical effects, mostly by miniatures and matte paintings. The language verges a little towards lines that sound like they came out of Mad Men at times, but not too much. Gillespie can definitely tell a good story, loves a tangent, and goes into he kind of in-depth details that will make Cinefex jealous.
Fascinating and brilliant, can’t recommend it enough!
* I borrowed this shot from one of the best miniatures resources on the web, the blog of Kiwi, NZ Pete (can’t find his real name) – Matte Shot – a tribute to Golden Era special fx
From the box office takings, it would appear that the FIFA vanity project United Passions isn’t going to be seen by many people. Given the revelations coming out of FIFA HQ recently (and for quite some time before then) that’s probably what the film deserves. However, French VFX studio CGEV put together some very nice digital sets for the finished film, and they at least deserve a viewing via the above show reel.
Wired/FX Guide have posted a very concise look at the VFX work done by ILM, on the TV show, Agent Carter.
The television VFX work looks spectacular, but it’s even more interesting to see that these grandees of the effects industry are producing work for television*.
Is this a sign of the growing maturity of episodic television, or more related to economic conditions within the film industry?
*This isn’t the first occasion that ILM have worked on a television series, The Young Indiana Jones Chronicles would be one previous example.