Current Trends of VFX

WEEK 1

This week we explore the 'Age of the Image' as discussed in Dr James Fox's BBC series. Looking back on how photographic techniques were created and how they are still used in modern day images. We also discussed the use of the Lens and how prominent it is in imagery past and present. Below are examples of one of these photographic techniques called the 'freeze frame'.

Below are some more modern examples of film/TV that uses the freeze frame technique Harold Edgerton developed.

Example 1: Quicksilver rescues the Mansion in explosion 'X-Men Days of Future Past.'

Daniel-Radcliff-in-Harry-Potter-And-The-Prisoner-Of-Azkaban.webp

Example 2: Harry Potter's first broom ride, facial expression frozen in flight.

Example 3: 'The Matrix' bullets frozen in air.

Example 4: 'Thelma and Louise' Car plunge into canyon.

Example 5: 'Fast and Furious' car jump from building.

Harold Edgerton's work focuses on capturing moments in time/movement that are unable to be seen with the naked eye.

Using strobe lights and fast photography he manages to slow down movement in an image.

Thus creating the 'Freeze Frame'.

Here are some of his most famous images captured using this process.

The Age of the Image- Episode 1, Notes:

Images representing time, the changing of light throughout the day, changing of angles whilst painting.
Time and movement developed through photography as a natural progression from traditional painting.
Started the film revolution. Creating moving images that flow together to make a video.
Cinema then took off creating a society that now wanted to be immersed in images, losing themselves in the media rather than simply looking at an image.
This progressed into people wanting to capture the everyday on their own cameras.
The want to capture intimate moments and close memories to re-live many years after.
The want to freeze time in an ever changing ever moving world to create pockets of time.
The rise of the selfie took photography into a more vanity focused society. Focusing on capturing oneself instead of ones surroundings.
No longer able to determine real from fake in photo media.
The combination of art and science was and is crucial in evolution.

A1 Blog Post 01

What does Dr. James Fox mean by his phrase 'The Age of the Image'?

In ‘The Age of the Image’ (BBC4, 2020), Dr. James Fox investigates why imagery is so prevalent amongst people and how it got to the stage it is at in modern day.

He discusses how early artists such as Paul Cezanne and Thomas Edison aimed to capture time and movement within an image or series of images. This desire to create moving imagery was what fueled the cinema in later years, creating pockets of time captured for viewers to enjoy repeatedly. Fox also reflects on how home cameras becoming more accessible to the public sparked an interest in capturing memories of everyday life and the fascinating people in it. The images were used to slow down time and re-live memories through photography, compared to the fast-paced images of the cinema.

The title ‘The Age of the Image’ seems to refer to the point that because imagery is being created and consumed in such high quantities, it is impossible to imagine life without it. The early adapters mentioned above paved the way for the modern technology of today which can allow people to capture millions of photographs a minute across the world right from their phone. Photos can also now be manipulated to create any image desired blurring the lines between capturing moments and creating ones from imagination.

This daily use of capturing images to manipulate time is what drives people today, living life through a lens or a screen instead of living in the moment. Fox highlights how though the traditional methods of early image making are still used and adapted today, the reasoning behind the images has taken on a new meaning. Focusing more on the vanity of oneself and the pressure to capture the perfect image as validation instead of being an artist expression of life around people. This is what Dr. James Fox refers to as ‘The Age of the Image,’ the changing understanding of imagery, its meaning to people throughout time and just how dependent the world has come to be on images.

Citation

Age of the Image, A New Reality, 21:00 02/03/2020, BBC4, 60 mins. https://learningonscreen.ac.uk/ondemand/index.php/prog/158E7D18?bcast=131384361 (Accessed 07 Oct 2022)

Thomas Edison with camera

Paul Cezanne Still Life with Plaster Cupid

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What is The Photographic Truth-Claim?

The term Photographic Truth-Claim was described by Tom Gunning in his paper ‘What is the Photographic Truth?’ where “In his theory he states that ‘the truth claim relies upon both the indexicality and visual accuracy of photographs’ the indexicality of the photograph depends on a physical relation between the object photographed and the final image. Because with many editing strategies, the image can look very different indeed.” Firth, (2015).

The idea that although a photograph requires some form of real-world grounding, it can be manipulated in ways that separate it from reality, creating an illusion or fakery. Simply changing a camera's angle, focal length or lighting can help achieve drastically different results thus changing the perspective of the subject and how it is viewed by the audience. That is before the use of photoshop is even considered which takes manipulation to a whole new level.

Part of Gunning's evaluation suggests that a photograph can be perceived as a lie since it is a photo of an object or person and not the thing itself. Therefore, it could be argued that because the camera can make the subject look differently to its real-life form, it is not an accurate or ‘real’ image but simply how the camera or photographer sees the subject. “Since its invention, photography has never been true. Photography is lies. An image of a thing is just that: an image. It is not the thing itself. Bayard clearly proves that with a bit of figurative smoke and mirrors, you can quite literally take a photograph that lies.” Choudhry (2021).

In summary, imagery contains both truth and lies by using real world subjects whilst manipulating the scene to display whatever message the photographer/viewer wishes to convey, “In other words, the truth claim is always a claim and lurking behind it is a suspicion of fakery, even if the default mode is belief.” Gunning (2017)

Citation

Gunning, T. (2017) PLENARY SESSION II. Digital Aestethics. What’s the Point of an Index? or, Faking Photographs . Nordicom Review, Vol.25 (Issue 1-2), pp. 39-49. https://doi.org/10.1515/nor-2017-0268 (Accessed: October 14, 2022).

Choudhry, A. (2021) What is the Photographic Truth? Fstoppers. Available at: https://fstoppers.com/fine-art/what-photographic-truth-555292 (Accessed: October 14, 2022).

Firth, A. (2015) Truth of and Object. A Firth Photography. Available at: https://afirthphotography.wordpress.com/studio-practice/truth-within-an-image/ (Accessed: October 14, 2022).

"Causes of Death by John Hillard Circa (1970) is a great example as it shows different story within each frame and this is all because of cropping into the image to create a new one, a new story, a new emotion. But which is the truthful one, as with any aspect of our lives the view we see is the view we read and understand, sadly this does not make it truthful." Firth. (2015)

WEEK 2

The Photographic Truth Claim:

Plato's cave allegory is where prisoners only seeing shadows of objects believe them to be the real objects themselves because it is all they have known. This is a perceived illusion, something believed to be real or something it is not. And facing reality can be difficult if you don't know and different.

In cinema and VFX this allegory is used; convincing people things are there that's technically not. CGI, VR, 3D modelling, Simulation and manipulating photographs are just some examples of ways we do this in modern day imagery.

Combining a mixture of real images and 'fake' images i.e. Green screen footage, 3D models, composited images, makes the image more believable to the public. It gives an anchor to the viewers as the can recognize or see the realness of the image making the fake stand out less. Merging the lines between real and fake imagery.

Plato's Cave allegory

Jurassic Park example combining real and fake imagery.

Indices and Symbiotics:

Indices are signs that tell you something, instruct you or refer to information.

Semiotics is the study of signs. Deriving meaning from things around us be it, imagery, sounds or words as some examples. Index is a more direct correlation between signs and its meaning whereas symbols meanings are derived from perception from societal beliefs and personal attachments. An icon tends to look like its meaning.

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WEEK 3

The famous photograph of 'The Loch Ness Monster' created controversy as the whether the image was real or fake.

William Mumler famous for 'spirt-photography' made a career claiming to be able to contact the dead and capture their spirts in a photograph behind their loved ones. As later deduced, he in fact used a simple double exposer trick to create this sort of image and was convicted for fraud.

Here we looked at the history of fake images and the techniques photographers used. It shows that manipulating images is not just a modern-day occurrence but was in fact happening long before. Below are examples of analogue images that were manipulated or considered fakes.

In 1917 two cousins from England created a series of images featuring fairies. The images were believed to be real until 1983 when one of the girls revealed the images were faked using clippings of images attached to the foliage.

Below are examples of digital photography that have been manipulated.

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fake-news-photos-viral-photoshop-24-5c6ff4632424c__700.jpg

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A pilot takes a selfie on the runway and edits it to look as if it is mid-flight.

A picture of Venice is combined with a picture of a lake in Russia to make it look frozen over.

This image of a castle on top of a perilous rock is in fact a combination of two photos. A castle from Germany and the rock from Thailand.

A1 Blog Post 03

The Definition of Compositing.

To composite as defined in the Oxford English Dictionary (2006) is to “combine (two or more images) to make a single picture, especially electronically.”

When compositing images together the purpose is to make all the images used fit seamlessly together to make it appear like it was always one whole image and has not been edited (in most cases). Combining CGI images from green screen shots or VFX plates (pre-shot background images) into scenes are just some of the ways compositing can be used to manipulate an image, creating the impression a scene was shot in a location it was not.

To create the impression of reality the composite should use elements of real-life footage/imagery to ground the images and allow viewers something to recognise as real, before adding the ‘fake’ imagery (3D models, Special Effects etc.)

Citation

Hawker, S. and Elliott, J. (2006) “composite,” in Paperback Oxford English Dictionary. Oxford: Oxford

University Press. (Accessed: October 21, 2022)

CGI & VFX Showreels: "Digital Compositing Breakdown Reel" - by Balázs Sántha

TheCGBros 15 March 2017.

WEEK 4

Looking at compositing within film and TV using different techniques taken from methods used decades before such as layering images to create a new image comp, as well as modern techniques (green screen, 3D modelling, special effects. Taking existing photography and creating something new from it.

Breakdown of The Hobbit compositing images, 3D models and green screen material to create individual frames.

Image 2: photo composite layering images to create a new fantasy image.

Image 1: Life of Pi movie green screen composite to change the background and add 3D model tiger.

Image 3: Movie greenscreen to change location and add 3D model buildings and cars based of historical photo.

Below are examples of computer-generated photorealism. This type of animation is growing more popular in film/tv and video games to create a more photo-realistic look to the characters, creatures and environments to be more immersive to viewers.

From the TV show 'Teen Wolf'. 3D modelled wolves are animated and sculpted in a photo-realistic look.

The movie 'Twilight' uses similar techniques to the example above as well as green screen and motion capture for the wolves.

Live-action movie 'The Jungle Book' is a re-make of the classic animated Disney film.

These two images are from the PlayStation exclusive game 'The Last of Us: Part 2'. The art style takes on a photo-realistic approach to create a more immersive environment and characters for players in comparison to 'Part 1'.

Photorealism as defined by Meisel is the creation of paintings fashioned in such a way as to appear to be photographs in their finished forms. Meisel defined the qualities of photorealist as one who:

The photorealist uses the camera and photograph to gather information.
The photorealist uses a mechanical or semimechanical means to transfer the information to the canvas.
The photorealist must have the technical ability to make the finished work appear photographic.
The artist must have exhibited work as a photorealist by 1972 to be considered one of the central photorealists.
The artist must have devoted at least five years to the development and exhibition of photorealist work.

Louis K. Meisel - Wikipedia

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Photorealism

Photorealism originates from when artists "copied" photographs on to canvas when painting the images to look realistic and accurate based off what the camera had captured.

The two main forms of photorealism in current film and TV are:

- Completely using CGI (methods such as 3D path tracing).

- The composite, using a mixture of computer-generated images and photography.

Photorealism is the way in which the images look when finalised/rendered, taking something digitally made (typically) and making it look as if it were real: either objects, environments or people etc. This is so when placed in a scene the subject does not look out of place and blends in, allowing viewers to believe it is real.

A good example of CGI photorealism would be 'The Lion King' remake where the entire film was digitally created, from the animals to the environments. It took a stylized animated series and turned it into a photorealistic production to create the illusion of the animals being real.

An example of compositing photorealism is "Jurassic Park" where they use a mixture of studio filmed footage, captured photography and 3D elements to create a particular scene. The photorealistic approach to modelling the dinosaurs is so that it blends in with the filmed footage and photos making the audience believe the creatures were actually there when they were not.

WEEK 5

Types of capture:

- motion capture, movement data.

- reality capture (3d scanning), object data.

- match-moving (tracking the movement of camera in live footage).

Animation:

The 12 principles of animation was created in the 1930s to illustrate the basic ways of showing movement and expression when animating.

The process of tracing was the primary way animators captured movement and facial expressions.

The principles are still used today as the foundation of animation.

The Jungle Book study.

Mo-cap was the driver when filming the movements and facial expressions for the animals in the movie. Filmmaking tools allowed a mix of virtual sets and mo-cap to be used in real-time.

Motion capture is a process where movement is recorded via reflective points on a suit and/or actor, it is a three-dimensional act.

It moves on from the two-dimensional process of rotoscoping (the tracing of movements discussed above).

“I consider motion capture to be an example of “digital indexicality,” a blend of computer-generated images and material recorded from reality. Motion capture demonstrates that indexicality persists in the digital age.” (Allison 2011, p. 326)

'More than a Man in a Monkey Suit: Andy Serkis, Motion Capture, and Digital Realism', Quarterly Review of Film and Video. Tanine Allison, 2011.

Task:

Compare Motion Capture to Key Frame Animation. Consider the following:

- How do you think the two approaches / technologies are the same or different, where do they align and where do they not?
- Think about the motion data stored and used in motion capture files, do you think it is indexical? How does it bring the real
- Feel free to illustrate your post with example images connected to the subject

Notes:

Mocap allows a more streamlined animation process, rather than the time-consuming task of hand animating keyframe by keyframe.
Key frame allows more creative freedom when animating as you are not basing it off of one person.
Mocap captures more natural looking expression and movement, appears more realistic and smoother.
Mocap is good for humanoid subjects, however, cannot be used for things like objects and is more difficult when animating animals/creatures as the features don't match up.
Mocap is indexical as the recorded performance does not have the look like the subject it is applied too however, still has resemblance. The information gathered still relates to the original source and has a direct link between source and application.
Keyframing has a more distinct look a lot of the time and is therefore iconic in its methods.
Keyframing is good for animated scenes and objects that cannot be animated via mocap.
Both are useful for different approaches, and both achieve different looks/styles depending on what feel the director wants.

A1 Blog Post 05

Comparing Motion Capture to Key-Framing Animation.

Key frame animation has been the main method of animating throughout history, firstly being developed by tracing the movements of people and animals to develop into animated images, much like a flip-book effect. Since then, the principles of animation have remained much the same. However, it has moved into a more digital process, by hand keying movements in digital software to achieve more varied and stylized results.

The use of key frame animation allows more creative freedom for animators as they are not limited to just using what is in front of them, but instead can animate animals you wouldn’t normally have access to and fantastical creatures. This makes animating non-human facial features a lot easier and more realistic as each expression can be carefully key framed to reach the desired look and feel. Key frame animation also has a distinct look about it, which is why it is so popular with animation houses such as Pixar, where the results are not meant to be realistic but instead have their own style that reflects that type of production. Other methods of animating such as Motion Capture are not able to capture movements of objects accurately, such as a bouncing ball for instance. Key framing however can. The animator can key frame the ball to bounce and use the squash and stretch rules to make an accurate ball bounce which motion capture cannot.

Whilst key frame animation has many positives, it cannot compete with motion capture in some areas. For instance, motion capture has a more streamlined process, which allows many movements and expressions to be captured in shorter periods of time. The data collected can be transferred to the 3D models in less time and with less hassle, no tweaking by hand, key by key just to achieve one movement. Motion capture also creates more natural looking movements and facial expressions, so that the characters appear more realistic and the movements a lot smoother.

Because motion capture is indexical, the person being captured does not always have to look like the animated subject, for instance a person being recorded could then be applied to a 3D animated model of a bear. There is still some resemblance between the two as the information still relates to the original source, and there is a direct link between source and application even without the sources looking alike. Even though motion capture can be used for some animal/creature animation it is best for humanoid subjects as all footage is captured by human actors, this makes it difficult when going for a realistic animalistic look as the footage will always have a human resemblance.

Overall, both key frame animation and motion capture have different approaches to reach similar outcomes, however one way of animating cannot achieve everything. Each method has its own style and individual uses that the other cannot replace, meaning that both motion capture and key frame animation are still valuable.

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WEEK 7

Motion capture- movement data

Match moving/motion tracking is linked to motion capture using software to track the movement from live captured footage.

Reality capture- object data

- Depth based scanning: Projected patterns of light used to assess shapes of objects recorded with cameras and processed to create 3D geometry.

- Laser Scanning LIDAR: Lasers take the measurements of an environment from 360 degrees and a 3D data point is built.

- Photogrammetry: 3D models are built from photos taken from multiple angles.

Notes:

Lidar Lounge

Can be used for Character scanning, vehicle scanning, set and location scanning, object/prop scanning, texture photography, data wrangling.
Used in film and TV, Gaming and VR, Architecture and design.
Uses terrestrial laser scanning and photogrammetry to scan environments and real-life objects that can then be turned into digital 3D models and data. What is Reality Capture?
“Reality Capture is a photogrammetry software solution that helps you create 3D models from photographs or laser scans. Reality Capture vastly improves productivity, accuracy, quality, and safety throughout the project.” Autodesk, 2020.

How it works:

Laser scanners scan a site of object, and a set of data is produced (or points). These points of data are then put through a reality capture software where the data is then recognised and turned into a point cloud. A point cloud is a 3D mesh produced from the gathered data. The point cloud can then be taken into relevant 3D software to be constructed into a digital 3D model or asset ready to be used in the project. Benefits:
Accelerates the 3D modelling process by having a point cloud/mesh already created saving building digitally from scratch.
Reduces labor cost, the scanner collects the data and processes it for you instead of hiring a large-scale team to gather information/references and modelling/implementation teams.
Can deliver high quality details from the start creating more efficient workflow.
Enables high levels of texture details to be captured.
Allows objects and environments to bring realism to a scene by using real-world subjects for scanning.
Can capture large sets and environments quickly in high resolution.
Can capture realistic humans and animals which would be tricky to model by hand.
Able to scan interiors as well as exteriors such as the mechanics of vehicles.

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What is Reality Capture, how does it work, and where is it used?

“Reality Capture is a photogrammetry software solution that helps you create 3D models from photographs or laser scans. Reality Capture vastly improves productivity, accuracy, quality, and safety throughout the project.” (Autodesk, 2020). Laser scanners scan an object, or a site and a set of data is produced, also called points. These data points are then put through a reality capture software where the data is then recognised and turned into a point cloud. A point cloud is a 3D mesh produced from the data gathered which can be taken into 3D software. Here a digital 3D model can be constructed ready to be applied into a scene or project.

The Lidar Lounge is a 3D Laser Scanning company which uses reality capture to develop 3D scans of locations and props. The scans taken are then used across Film and TV, Gaming and VR and Architecture and Design, with some of their projects being; ‘Jurassic World’, ‘Mary Poppins Returns’ and ‘Gravity’. Scans are taken of a multitude of things such as Characters, Vehicles, Sets and Locations, Objects/Props and textures. The Lidar Lounge uses terrestrial laser scanning, “Terrestrial laser scanning (TLS), also referred to as terrestrial LiDAR (light detection and ranging) or topographic LiDAR, acquires XYZ coordinates of numerous points on land by emitting laser pulses toward these points and measuring the distance from the device to the target” (Vosselman and Maas, 2010). TLS and Photogrammetry are used to produce high quality 3D models that are then used within the project scenes.

Some benefits of Reality Capture are that it accelerates the 3D modelling process by having a point cloud/mesh already created saving building digitally from scratch reducing labor cost, the scanner collects the data and processes it for you instead of hiring a large-scale team to gather information/references and modelling/implementation teams. Reality Capture also allows objects and environments to bring realism to a scene by using real-world subjects for scanning as well as delivering high quality details and textures from the start creating more efficient workflow.

Citation

Vosselman, G & Maas, HG (eds) 2010, Airborne and terrestrial laser scanning. CRC Press, Boca Raton. (Accessed: November 18, 2022).

Autodesk (2020) Reality capture, 3D Scanning & Photogrammetry for AEC. Autodesk. Available at: https://www.autodesk.com/campaigns/reality-capture (Accessed: November 18, 2022).

WEEK 8

Notes:

Virtual Production vs Green Screen

- VP is cheaper in the long run, don't have to constantly build and replace sets.

-VP can be altered in real time, production can see the scene at the time of filming and can make an adjustments they want.

-VP provides realistic shadows, lighting and reflections that otherwise would need to be CG added.

-Actors can perform better as they are surrounded by a realistic environment not just green screen.

-Don't need to build an abundance of props, only those that the actors will interact with.

-VP reduces the post-production pipeline dramatically as most issue can be fixed on set in real time.

-VP costs a lot upfront and most stage budgets do not have enough to cover one.

-Using Unreal Engine pushes the boundary when it comes to graphics and photorealistic VFX.

-No unnecessary green spill onto actors and sets from the green screen that then has to be keyed out in post-production.

-Green screen is reliable and has been used for a very long time, so most film makers are more comfortable with it.

-Software to assist the running of a VP is another cost to be factored into a production budget as well as hiring the right team with the skills to use the software's.

-Size of set. Green screen is necessary for large scale scenes/sets such as 'Avengers Endgame'. A VP screen set would not be possible in the scale needed to film this style of scene.

-The complexity of VP can be off putting for some filmmakers as it requires a lot of technical knowledge, larger crews for running and maintaining the screens, software experience and a newer way of filming.

Virtual Production | Green Screen Replacement | Brompton Technology

THE PROS AND CONS OF LED SCREENS AS GREEN SCREEN REPLACEMENT - Brompton Technology

Is Virtual Production Killing the Greenscreen? | by Drew Viehmann | Medium

A1 Blog Post 07

Green Screens have been used in film making for as long as people can remember, however with advancing technology, a new way of filming has begun to take over, virtual production. Green Screens are walls of green material that stand in as a backdrop whilst filming so that in post-production, VFX artists can change and manipulate the background and environment digitally. Virtual production is where large LED screens are used as backgrounds where the environment is showing live on set. There are many key differences between the two techniques as well as benefits and pitfalls to both as will be discussed in the following.

The use of Green Screens has been proven reliable time and time again which is what makes them such a staple in any motion picture production, this makes filmmakers feel comfortable as they know and understand this method which takes little training to be able to set up. The complexity of virtual production, in comparison, can be off putting too some filmmakers as it is relatively new and requires a lot of technical knowledge as well as new teams of specialists to help run, build and maintain the LED screens.

When shooting large scale scenes, the use of Virtual Production does not work as well as Green Screens do, for example in ‘Avengers Endgame’ it would be impossible to capture that large of a shot without the use of a Green Screen. The Green Screens scores points in other ways too such as, it requires no software to build and is cheap to buy or make. Virtual Production requires heavy duty software's to assist in running the screens as well as being very expensive to purchase, making it not readily available to many film companies that don’t have multimillion pound budgets.

Whilst the Green Screen has its benefits, Virtual Production brings a whole new streamlined way of working, meaning the roles of post-production can now be done live on set. This reduces the amount of time it takes to composite and manually key backgrounds from green screen footage, instead it allows the backgrounds/environments to be changed in the moment as and when needed. This also helps the actors become more immersed in their scenes as they can then see what is around then and what the final shot might look like, improving performance.

Because Virtual Production uses LED screens it allows realistic lighting, reflections and shadows to be cast on to the scene. Placing an actor in a reflective costume in front of the screens displaying a scene of outer space means all the reflections will be accurate and in real time, for instance, and means there is no more green spill from the Green Screens.

Overall, both methods have their uses, and both are still relevant for the time being, however with the rise in technological quality and the desire to push boundaries within filmmaking, Virtual Production seems set to take over the need for Green Screens.

Bibliography

Virtual production: Green screen replacement (2022) Brompton Technology. Available at: https://www.bromptontech.com/applications/virtual-production/ (Accessed: November 30, 2022).

Downie-Solomon, D. (2020) The Pros and cons of LED screens as Green Screen Replacement, Brompton Technology. Brompton Technology Ltd. Available at: https://www.bromptontech.com/the-pros-and-cons-of-led-screens-as-green-screen-replacement/ (Accessed: November 30, 2022).

Notes:

The changing art style of animation:

The movement from Pixars surrealistic style of animation to the artistic direction of productions such as 'Arcane' and 'Into the Spiderverse' which uses a mixture of 2D and 3D methods to create a comic inspired drawing style. Keeping the final product as close to the concept art as possible is a new emerging trend within film and tv.

Notes:

Pixar photo surrealistic, look like could exist in real world but is still animated.
Moving away from this into a more hand drawn style.
Old rendering reflects real world references which is why animation took to the realistic look.
Pixar look is tried and tested and known to sell and be successful which is why most studios aim for the same look.
2017 into the spiderverse more comic book style, texture and stylized.
Non-photorealistic rendering by breaking there render using custom data.
Hatch marks and half tones dots
Variable frame rates and speed lines
More painterly direction in puss in boots, 2d cut away and graphics.
Looking towards the future animation studios are looking into more stylized looks.
Arcane
Blending 2d and 3d
Background matte paintings, 2d plains.
3d assets in the foreground.
Complex layers with camera tricks.
All vfx were drawn by hand by digital painters.
Using texture projection, projecting 2d textures on to 3d objects.
Masking out and splining in after effects to move 3d objects round 2d matte paintings.
Clever use of shadows and lighting to make 2d look 3d.

A1 Blog Post 08

Pixar's photo surrealistic look is famous in the world on animation, it is an art style that is tried and tested and proven to be a massive hit amongst the general public making other animation studios want to replicate their look. The ‘Pixar Look’, as it is more commonly known as, is where the character and objects look like they could exist in the real world despite being in an animated film or series. However, recently animation seems to be taking a turn in terms of artistic style and direction, moving on from the well-known ‘Pixar Look’ and towards a more stylized look instead.

2017 ‘Into the Spiderverse’ was one of the main films that really embraced and led the way into this new direction. It features a comic book style of animation where graphics and textures are enhanced in ways not typically used in full feature length movies. It uses techniques such as hatch marks for clothing texture, half-tone dots for light and shadow, speed line to show movement and variable frame rates to create anticipation and action. Whilst the old ways of rendering reflect real world references, ‘Into the Spiderverse’ achieved a non-photorealistic render by breaking it and using custom data to get a more painterly look.

Another recent example of this change in artistic direction is the Netflix series ‘Arcane’ based on the popular game ‘League of Legends’. ‘Arcane’ uses a clever blend of 2D and 3D throughout the whole series, also giving it a stylized, painterly look keeping as close to the concept art as possible, even using the concept art in the final production. Backgrounds are mostly 2D matte paintings with some 3D assets in the foreground to create depth and believability, this technique creates complex layers that the camera is then able to capture in a way that makes the scene come to life. All the VFX in the series were hand drawn by digital painters with cleverly placed shadows and lighting to make the 2D appear to be 3D, blending the whole scene together seamlessly. Masking out and splining the 3D assets in compositing makes the assets move around the 2D background believably without having to build whole 3D worlds to achieve this.

The success of these recent films, as well as others, that have created a new look and feel to animation has made other studios including Pixar take notice. Viewers are enjoying the change in artistic direction and stylized animation is looking like it will play a big role in the future of animation.

Bibliography

Station, S. (2022) Why Arcane is an Artistic and Technical Masterpiece, YouTube. Stylized Station. Available at: https://youtu.be/JZX_dd7iOWE# (Accessed: November 30, 2022).

Making Of Arcane - Best of Behind The Scenes | League of Legends | Netflix Original Series (2021) (2021) YouTube. Stream Wars. Available at: https://youtu.be/7rAbZUZCnL8 (Accessed: November 30, 2022).

WEEK 9

Simulation

-A virtual rendition of reality.

-A non-physical subject or space.

-A fabrication of reality.

-Google Maps is simulating the world around us in a digital medium.

-"It is the generation by models of a real without origin or reality: a hyperreal" (Baudrillard, 2010, p.1)

-Simulacra is substituting the signs of the real for the real.

The Matrix was based heavily off of Baudrillard's work on simulation however the film depicts the line between the 'real' and the simulated as being very clear cut. In fact, what Baudrillard is trying to convey is that the line between both is in fact blurred, and the difference between the real and the simulated is now nearly nonexistent. The fact that life in modern times is all lived through some sort of simulation (imagery, videos, VR, internet) is what makes the simulated and the real unable to be separated as clearly as The Matrix portrays it to be.

“Baudrillard defined "hyperreality" as "the generation by models of a real without origin or reality”; hyperreality is a representation, a sign, without an original referent. The prefix ‘hyper’ signifies more real than real whereby the real is produced as per model. Baudrillard in particular suggests that the world we live in has been replaced by a copy world, where we seek simulated stimuli and nothing more.” (Santoso and Wedawatti, 2019, p.69)

Assignment 02

Development

The essay topic question I have chosen is Option 2:

Plan:

Here I will use information I gathered for the previous Blog Posts, as well as new sources, to compare more traditional filmmaking to newer trends of filmmaking. In this essay I will focus on comparing the use of Virtual Production to Green Screens.

I will discuss leading developers in the Virtual Production screens/software such as SONY and Epic Games (Unreal Engine). I will analyse projects where VP and Green Screens have been used and what sort of projects call for each different approach. I will compare the pros and cons of each application and discuss whether the emerging rise in VP use will make Green Screens redundant in the near future. I want to also use comments from industry professionals who discuss the topics of VP and Green Screens and have their own views on the techniques to create a robust case for each side.

Notes from Previous: