I will name the movie, its director and year it was made based on images taken from it.

My favorite VFX shots:

This is my favorite Ironman suit up from the movies. It is the first time he garbs the red hot and yellow armor “Mark 3”. From the movie “Ironman” (2008) directed by John Favreau.

Some examples of special effects:

Annotated Bibliography for “Through the Looking Glass: Philosophical Toys and Digital Visual Effects”

Prince. S. (2010) ‘Through the Looking Glass: Philosophical Toys and Digital Visual Effects’; Projections, 4(2), pp 19-40

In Stephen Prince’s “perceptual realism” article, he explores the intersection of art and science in defining special effects. The Virginia Tech professor argues that visual effects enhance a film’s narrative, aiming to convince audiences of their authenticity, even in portraying imaginary elements. Prince addresses critics by emphasizing how VFX artists integrate real-world elements into fantasy settings, fostering audience engagement. Advanced technologies enable more convincing visual effects, using the film “Zodiac” as an example of authentic historical depictions. Prince contends that filmmakers, armed with an extensive toolbox, can replicate past eras, showcasing how visual effects evolve from scientific advancements, ultimately enhancing the cinematic experience.

The key differences between “invisible” and “spectacular” visual effects

          There are two different types of visual effect shots found in film: “Invisible” and “spectacular”. Despite them both being un-existing digital resources, both of them appeal to a film’s audience independently.

          The Invisible VFX shots play a pivotal and much easier role of building a connection with an audience. These shots tend to go unnoticed which allows them to appear more natural as if they actually where, whilst maintaining the film’s narrative structure. For-example, a speeding car is about to hit a child. To film this, you would not need any VFX. However, filming such scene presents another problem hidden from the audience. For the film’s narrative to work, the car must appear to have almost hit the child, on set this is dangerous and at the same time the filmmaker would not want to cut the scene out due to the danger it might cause. That is where the filmmaker would re-create a real world element and make it preform a dangerous task. That way the film’s narrative is maintained together-with no harm caused to any actor/actress. There are various methods filmmakers preform invisible visual effect shots: wire and rig removal, color corrections and the ones in the speeding car example are seamless integration of image types using composing together-with digital matte painting. The child is filmed separately, likewise the speeding car. The car would be masked out of its scene and seamlessly interrogated where the filmmaker wants as a composed layer above the child’s scene. Hence all the child has to do is pretend a speeding car is about to run them over.

Example of invisible VFX:

Whereas, spectacular VFX are shots the audience know are fictional. As said before invisible VFX shots build a connection by using the real world’s elements but, spectacular VFX shots do not possess the real world element which prevents them from building a connection with their audience due to the lack of relatability to fictional elements such as flying humans. Spectacular VFX shots connect with their audience differently, by perceptual realism. For example, a filmmaker needs to apply perceptual realism to the fictional VFX shot of a flying human. He/she would refer to real world creatures/elements and mimic the way they fly. A jet flies in a 180 degree angle and is shaped as a line. The filmmaker would direct their actor/actresses to imitate flying angle of a jet and to resemble its shape by laying down flat on their stomach so they would look like a line. In addition, the filmmakers would research the jet’s speed and apply it the flying human so that they fly with the same pace. Furthermore, despite having the mentioned elements in a fictional VFX shot, a flying human would still seem too unbelievable to connect with the audience. To fix this issue, the filmmaker has to compose their scene with photorealism. Simply filming a human on a green screen pretending to fly then masking them over a sky, simply is not enough. The filmmaker is able to use different real world elements such as light on their actor/actress. That way when the human is masked on the sky, the direction of light with in the green screen has to imitate the direction of light of the sky scene. That way the audience would build a smoother connection to the flying human because they recognize real world elements that apply on themselves also being applied on the flying human.

Example of spectacular VFX:

 

In conclusion, invisible visual effect shots are compositions of re-created real world beings/objects to tackle issues within filming, conversely, their spectacular counter part applies real world aspects on fictional elements.

Annotated Bibliography: 

Prince, S. (2012) ‘Digital Visual Effects in Cinema’ : The Seduction of Reality

Special effects are often used in today’s world, unlike other film elements such as props and set design which are crafted. Visual effects are a product of the digital world and are intangible resources carrying out a pivotal role in the storytelling of a film. There are different types of VFX: changing the background of a scene using a green/blue screen, digitally made locations and characters to bring in fictional elements and beings, color correction and digital lighting used to improve the overall aesthetic of the scene. This proves that visual effects help create a narrative in a film.

 Studios and people adjust well to advancements in film. An example is how George Meilies began his career as a magician and was able to make films with special effects, because he already knew how to manipulate the audience into believing fake imagery. It was another way to display magic tricks. As time progressed, people utilized those methods of showcasing magic the same way Melies did. It eventually became too frequent alongside the creativity people used these illusions so much that it became a standard aspect of film we call visual effects.

Visual Effect Ted talk by  Rob Legato on The Art of Creating Awe + class discussion

The principals of illusions go as the following:

Assumption: what we expect to find.

Presumption: how we expect things to happen.

Realty: what we already know about our world.

Some of the earliest forms of film technology where multiple images being displayed one by one at speed so high it gave the illusion of movement in a still image.

This is what we refer to as “moving pictures”

Audience would find fast moving images more believable than slower ones because of how smooth the movement was when images where being shuffled at higher speeds.

Today’s frame rate is 24 images shuffled per one second.

Hence, 24 frames per second is enough to make an audience believe what they see.

Hypothesis: why do we have the options to have higher frame rates than 24; when we do not need anymore to be convinced of what we see on a screen?

Slow motion is when a video moves at a low pace.

When films display their films in 24 frame per second, which is enough to make it seem as though the images where moving at normal speeds. So, when using any frame rate less than 24, a sequence of images would display a quicker movement. However, adding any value above 24 frames per second would slow down a video because of how many images need to be shuffled in each second.

Answer to hypothesis: we have the options to use a higher frame rate than 24 frames per second so we can achieve slow motion in videos.

Persistence of vision:

They eye – by which an afterimage is thought to persist for approximately one twenty fifth of a second on the retina.

George Melies:

Born: December 8, 1861

Died: January 21, 1938

George Melies began his career as a magician preforming tricks in front of an audience. He took an interest the Lumiere brothers invention “moving pictures”. He wanted to do something of similar nature but was told the moving picture phase was not to last long. This led him to construct his own camera which he used to display magic illusions such as  fictional elements in films he made. Melies used various methods of tricking the audience into believing his illusions on camera such as: substitute splices, multiple exposures, time-lapse photography, dissolves and hand painted colors.

Some of Melies’s films:

Annotated bibliography of “The cinema of attractions: early film, its spectators and the avant garde”

Written by: Tom Gunning

Gunning, T. (2006) ‘The Cinema of Attractions: Early Film, Its Spectator and the Avant-Garde’, in Strauven, W. (1.) The Cinema of Attractions Reloaded. Amsterdam: Amsterdam University Press, pp. 381-388.

Early cinema used visual and sensory effects to amaze and interest its audience rather than narrative storytelling. At the time film was nothing more than a circus attraction or a magic show people watched on a stage. The Lumire brothers who made the cinema of attraction, believed its popularity would not last long. As time progressed people began incorporating linear stories using the cinema of attraction’s “moving pictures” feature. Audience seemed to enjoy the cinema’s traction more when it told a story. A magician by the name of George Meleis noticed the invention of the moving picture and how plotless films were being made. He eventually went on to make his own narrative films and they became very well recognized by people. His films stood out because as a magician he knew how to create illusions and deceive what the audience could see. His films stood out because of his ability to produce fictional and impossible scenes. This essay is critical for understanding the notion and it’s significance in early film development.

Annotated bibliography of “What is Digital Cinema? By Lev Manovich”

Manovich, L. (2001) ‘Digital Cinema’ , The Language of New Media. Cambridge MA: MT press

Manovich explores the evolving terminology used to describe cinema, tracing its historical roots from “cinematograph” to contemporary concepts like computer-generated imagery (CGI). He contends that advancements in technology, particularly CGI, are blurring the lines between cinema and animation. The author emphasizes how the manipulation of digital data, enabling sophisticated visual effects, challenges the traditional indexical identity of cinema. While acknowledging the convergence, Manovich notes a crucial distinction: animation is overtly artificial, whereas cinema aims to conceal its production process for a realistic viewer experience. The article delves into the changing boundaries of cinema in the digital age, where CGI challenges traditional perceptions of reality in film. Manovich prompts reflection on how cinema is perceived as technology advances, questioning its nature and the suspension of disbelief it strives to achieve.

Comparing an original film and its modern reboot

The special effects in the 1978 film “Superman” and the 2013 film “Man of Steel” represent two different eras in the development of visual effects technology. Let’s compare the VFX in these two movies:

Technology:

“Superman” (1978): “Superman” was made during a time when visual effects were primarily achieved through practical effects, miniatures, and optical compositing. The film used techniques such as blue-screen and rear projection for flying and wirework for various Superman stunts.

“Man of Steel” (2013): “Man of Steel” benefited from the advancements in CGI (Computer-Generated Imagery) and digital effects that had evolved over the decades since the original Superman film. The film utilized state-of-the-art CGI for many of its action sequences and Superman’s flight scenes.

Realism:

“Superman” (1978): The visual effects in the 1978 film, while groundbreaking for its time, have a somewhat dated look by today’s standards. Flying scenes are notable for their use of rear projection and sometimes visible wires.

“Man of Steel” (2013): The VFX in “Man of Steel” aimed for a higher level of realism and often succeeded in creating more convincing and dynamic action sequences, including Superman’s flight and battles.

Action Sequences:

“Superman” (1978): The action sequences in “Superman” were more limited due to the technology of the time. Still, it featured some impressive moments, like Superman saving Lois Lane and the helicopter rescue.

“Man of Steel” (2013): “Man of Steel” featured much larger and more ambitious action sequences, including epic battles with other Kryptonians and extensive destruction of Metropolis. These scenes were made possible through advanced CGI and dynamic camera work.

Character Design:

“Superman” (1978): The visual effects for Superman’s flying and powers, while groundbreaking, were relatively simple compared to modern standards. The costume and the flying sequences had a classic, comic book feel.

“Man of Steel” (2013): “Man of Steel” featured a more modern and detailed depiction of Superman’s suit and powers. The CGI allowed for a greater level of detail and a more contemporary interpretation of the character.

Evolution of the Industry:

“Superman” (1978): The original Superman film was a pioneer in its time and laid the foundation for future superhero movies and visual effects techniques.

“Man of Steel” (2013): “Man of Steel” benefited from the decades of progress in the visual effects industry, allowing for more spectacular and immersive scenes.

In summary, the VFX in “Superman” (1978) were groundbreaking for their time but appear dated by modern standards, while “Man of Steel” (2013) showcased the advancements in CGI technology and aimed for a more realistic and dynamic visual experience. The differences in technology and production approaches between the two eras are evident in the final results.

 Ray Harryhausen:

Harryhausen (1920-2013) was an American stop-motion animator and special effects wizard who is widely regarded as one of the pioneers of modern cinematic special effects. He is best known for his work in creating and animating various creatures and monsters in fantasy and science fiction films.

Some of his most famous works and movies include:

-“Jason and the Argonauts” (1963): This film is particularly renowned for the famous skeleton swordfight scene, which is still considered a classic example of stop-motion animation.

-“Clash of the Titans” (1981): In this film, Harryhausen created a variety of mythological creatures, including the iconic Medusa, Pegasus, and the Kraken.-

-“The 7th Voyage of Sinbad” (1958): This film introduced many to Harryhausen’s imaginative creations, including the Cyclops, the Roc, and the Dragon.-

-“One Million Years B.C.” (1966): This film featured memorable stop-motion dinosaurs, including a battle between a Triceratops and a Ceratosaurus.

Harryhausen’s work was groundbreaking in the pre-CGI era of filmmaking, and he inspired many other filmmakers and special effects artists. His meticulous attention to detail and the skill with which he brought inanimate models to life set a high standard for the industry. Ray Harryhausen’s contributions to the world of cinema have left a lasting legacy, and his influence can still be seen in contemporary filmmaking, where stop-motion animation and practical effects continue to be used alongside digital techniques.

Harryhausen’s famous special effects technique

“Dynamation” is a term that was coined by special effects pioneer Ray Harryhausen to describe his stop-motion animation technique used in filmmaking. Harryhausen is best known for his work on classic films such as “Jason and the Argonauts,” “Clash of the Titans,” and “The 7th Voyage of Sinbad.” Dynamation involved combining stop-motion animation with live-action footage to create the illusion of realistic and fantastical creatures and special effects in his films.

In Dynamation, stop-motion animated models, often of mythical creatures like dinosaurs, skeletons, or monsters, were meticulously crafted and then filmed frame by frame to achieve realistic movement. These stop-motion sequences were later integrated into live-action scenes. The term “Dynamation” was essentially a branding created by Harryhausen to highlight his unique approach to special effects in the world of filmmaking.

Ray Harryhausen’s work in Dynamation has had a lasting influence on the field of visual effects, and his innovative techniques continue to be celebrated by filmmakers and fans of classic cinema.

image of dynamation:

Reference:

IMDb. (n.d.). Ray Harryhausen. [online] Available at: https://www.imdb.com/name/nm0366063/.

‌Annotated bibliography for George Lucas Discovers Computer Graphics by Alvy Ray Smith

A. Ray Smith (1998) ‘George Lucas Discovers Computer Graphics’ in IEEE Annals of the History of Computing: vol. 20. IBM Thomas Watson Research Centre P.O. Box 704, pp.48-49.

The Uncanny Valley human-CGI likeliness graph:

Annotated “bibliography for: The Uncanny Valley” by Masahiro Mori.

Mori, M. (2012). ‘The Uncanny Valley’. IEEE ROBOTICS & AUTOMATION MAGAZINE. (pp. 98-100)

2D Disney Task:

Some classic Disney movies and cartoons:

-Pinocchio (1940)

-Fantasia (1941)

-Dumbo (1941)

-Cinderella (1950)

-Alice in Wonderland (1951)

A clip I found interesting from the film “Fantasia (1941) to analyze:

The sorcerer’s apprentice scene:

This clip’s protagonists are:

-Mickey Mouse

-Broom

This scene begins with the sorcerer “Yen Sid” working on his magic whilst his apprentice “Mikey Mouse” completes his chores. Yen Sid’s hat has the ability to give out commands to objects. After he puts it away, Mickey Mouse dons it and commands a broom stick to complete the rest of his chores.

The scenery in this clip happens to be dim and dark due to the windowless castle location. This would usually emphasizes a dark and gloomy feeling. However, we can see intensely lit candles where our protagonist mickey mouse moves which makes the scene appear hopeful despite its supposedly gloomy cinematography.

The character Mickey Mouse seems to be overworked leading him to laziness and an unenergetic feeling. This shifts however, when he wears the sorcerer’s hat because of the agility it provides him which is to command a broom stick to complete all the chores that have been tiring him. This relief ignites a sense of excitement in him.

The character of the broom stick comes of as relentless and hardworking because it lacks the ability to think for itself due to Mickey Mouse’s forced orders. Other than that, it is only a faceless stick, unable to show emotion let alone have any personal traits.

The character of Yen Sid seems to be mysterious and determined because of how focused he is on his magical experiment. He also is confident in his ability which shows me that he possesses a high position such as a ruler in this scene.

I think the character’s movement in this scene is uncanny because of the way the film is made which is by showing multiple drawings in a second. However, it is done very well, but not well enough to be indifferentiable from the movement of a person in the real world.

I found this clip from the 3D animated TV show “Mickey Mouse Clubhouse” (2006-2016) to be similar to this scene.

This 3D animated scene has a higher frame rate of 24fps similar to how a human eye views which makes it appear less uncanny and more realistic.

12 Principles of Animation:

1: Timing and Spacing

In animation, timing and spacing provide the illusion of objects and characters moving in accordance with physical rules.

The duration of action or the amount of frames between two poses are referred to as timing. Timing would be demonstrated, for instance, if a ball moved from screen left to screen right in 24 frames. The ball travels around the screen in 24 frames, or 1 second, assuming you’re working at the 24 frames per second film rate. Additionally, timing can define personality, mood, and emotion.

The arrangement of the separate frames is referred to as spacing. In the same scenario, for example, the spacing would represent the ball’s location in the remaining twenty-three frames. The ball goes more slowly when the spacing is close together. The ball moves more quickly when the spacing is wider.

2: Squash and Stretch

Objects are made flexible by their ability to stretch and squash. Observing a bouncing ball will help you to grasp how squash and stretch operate. The ball will expand right before impact as it begins to fall and gain momentum.

The ball squashes as it hits the ground and then stretches once more as it lifts off. Note that an object’s volume never changes. When a ball is twisted or compressed, its width and depth must also adjust appropriately.

You might not be aware of all the instances of “squash and stretch” that occur in daily life. For example, the face is so flexible that it may be squashed and stretched as someone speaks. This can be accentuated in animation. Squash and stretch can be used in a variety of animation contexts to enhance humor or appeal, such as the eyes blinking or someone being startled or afraid.

3: Anticipation

In animation, anticipation is necessary to sell genuine movements and sets the viewer up for an impending action.

A simple way to think about this is that a baseball player must move their entire body and arm backward before pitching the ball in order to generate enough energy to throw it forward. Therefore, in order to move forward, an animated person must travel backward. Alternatively, if a character reaches for a glass that is on a table, their hand has to go back first. This quickens their motion and lets the audience know that they will soon move.

A character’s gaze being directed toward something they are about to do or looking off screen when someone arrives are two other instances where anticipation is employed.

4: Ease In and Ease Out

Any thing that is moving or stopping has to accelerate and decelerate over time. Movements appear incredibly artificial and robotic when ease in and ease out, or slow in and slow out, are absent.

A car doesn’t just accelerate to its maximum speed when it leaves a standstill. It needs to accelerate initially. It does not go from sixty to zero in an instant as it comes to a stop. Rather, it decelerates until it comes to a complete halt.

The same needs to be done in animation, and using the notion of spacing is the simplest approach to achieve ease in and ease out. The initial spacing between each pose when a character stands up from a sitting position is closer together to allow them to ease into the movement. By separating the poses more widely at the conclusion of the action, they will relax out of the movement when they get up. All of this sudden jerky movement would not be possible without the acceleration and deceleration of actions.

5: Follow Through and Overlapping Action

The concept of follow through posits that some body components will carry on moving even after the character has stopped. The arms may extend forward as a figure stops walking and then settle into a down posture. Items of clothes may also be subject to this.

Similar to “drag” or “lead and follow,” overlapping action involves the movement of several bodily parts at different periods. When a figure extends their arm to wave, an example of overlapping action occurs when the shoulder moves first, followed by the arm, the elbow, and finally the hand, which lags behind a few frames. This is also seen when a grass blade sways in the breeze. Its wave motion is caused by the base moving first, with the remaining grass moving after it at varying speeds.

To keep the animation from going “dead,” static characters must also move in some way, for example, by blinking their eyes or breathing. We refer to this as “moving hold.”

6: Arcs

Practically everything in the actual world moves on an arc. It is not natural for individuals to walk in straight lines, thus in order to achieve realistic, fluid movements, you need follow this animation approach. The arc is flatter and the curve is wider when something travels more quickly. A robot is the only object that could travel in an entirely straight path.

In order to produce an arcing motion, a character who is turning his head will drop his head downward throughout the movement. Additionally, you should make sure that subtler elements follow arcs. For instance, even the tips of a character’s toes should move in an arcing, rounded motion when they walk.

7: Exaggeration

Exaggeration is a useful tool for advancing motions and enhancing their appeal; it should always be employed to some extent.

Exaggeration can be employed to produce very cartoonish motions, such as changes in physical form or incorporation of supernatural components. For more realistic actions, exaggeration can also be used with a bit more caution. Even so, though, you may employ exaggeration to maintain realism while creating a more readable or enjoyable movement.

Therefore, you may push a character who is about to jump from a diving board down a little bit farther before they really jump. As an alternative, you may accentuate certain actions or assist sell the weight of a figure or item by using exaggeration in time.

8: Solid Drawing

Solid sketching in 2D animation refers to the process of accurately capturing volume and weight, balance, shadow, and the anatomy in a certain posture. Animators using 3D must consider how to position their 3D character rig to guarantee proper weight and balance as well as a distinct silhouette.

Steer clear of “twinning,” which is striking a mirrored position over to the opposite side (both hands in pockets or both arms on hips), since this results in a pretty monotonous and ugly pose.

9: Appeal

This idea basically boils down to enhancing your animation’s charm (charisma) in a variety of ways, such posing. The most obvious example, though, is appeal in character design. While a complex or confusing character design may lack appeal, you want your audience to be able to relate to or connect with your character.

You can highlight and accentuate certain parts of the character to make it stand out more from the crowd and leave a lasting impression. One way to do this is to just draw attention to your jawline or emphasize how young your eyes are. Both of these can contribute to increasing attraction. Villains need to be appealing too.

10: Straight Ahead Action and Pose to Pose

A extremely unplanned and linear method to animation, straight ahead action is animated frame by frame from beginning to end. This will allow you to generate the animation’s poses one at a time. As a result, if your character is jumping into the air and landing on the ground, you should design the standing, starting to kneel, and fully hunched positions for him. To put it another way, you’re actually going through the animation process in order to create dynamic, fluid rapid motion.

The animation is considerably more meticulous from pose to pose, with just the most critical poses necessary to adequately depict the tale. You would use less poses (standing and crouching) to animate the figure falling on the ground after jumping in the air. This allows for less labor while still ensuring that the proportions and timing are accurate before adding additional intervals later. It is ideal for slow, dramatic, or emotional passages. These two tactics are frequently used in tandem to great effect.

11: Secondary Action

In order to add more life to the animation and provide a more realistic performance, secondary action is defined by actions that highlight or support the main action. It’s crucial to keep in mind that the secondary action should usually be subdued and shouldn’t take attention away from the primary activity (it may even be considered a subconscious action). Dramatic motions therefore take precedence over elements such as facial expressions.

Assuming one character is conversing with another in a waiting room. The main action would be the two of them talking, but the secondary action would be one of them nervously tapping their foot. Other instances include a character whistling, resting against a wall, or crossing their arms during a key action.

12: Staging

Staging is the process of putting up your scene, from the location of the characters to the backdrop and foreground components, the mood of the characters, and the camera angle. Staging is utilized to make the goal of the animation obvious to the spectator. To minimize confusion, keep the focus on what you want to express to the audience.

Bibliography:

What are the 12 principles of animation? (2022) Pluralsight. Available at: https://www.pluralsight.com/blog/film-games/understanding-12-principles-animation (Accessed: 16 November 2023).

Analyzing the composition of a VFX shot:

One notable scene in the film “The Avengers” (2012) by Joss Wheedon that showcases impressive VFX is the Battle of New York, particularly when the Avengers are fighting against the “Chitauri” invasion.

 

Chitauri Army:

The Chitauri creatures and their army are entirely computer-generated, showcasing the use of extensive character modeling and animation. The massive scale of the invasion required complex simulations and rendering to make the alien army appear realistic in the live-action environment.

Leviathan Creatures:

The Leviathans, enormous flying creatures used by the Chitauri, are also CGI creations. Their movements, interactions with the environment, and the destruction they cause involve intricate visual effects work.

Destruction and Explosions:

The Battle of New York involves widespread destruction, with buildings collapsing and explosions occurring throughout the city. These effects likely involve a combination of practical effects, such as pyrotechnics on set, and digital effects to enhance and extend the destruction. This was done digitally to avoid destroying actual building which would be very expensive and possibly dangerous.

Stark Tower:

The filmmakers wanted to add a building that only existed in the fictional world. To their disadvantage it was a very large and expensive building to construct within the production of the film. To avoid this, they digitally molded Stark tower.

Hulk:

The portrayal of the Hulk, played by Mark Ruffalo, involves a combination of motion capture technology and CGI. The realistic animation of the Hulk’s movements and facial expressions required careful attention to detail.

Environmental Effects:

The scene involves a dynamic environment with flying debris, smoke, and atmospheric effects. These elements contribute to the chaos of the battle and require sophisticated VFX work to integrate seamlessly with the live-action footage.

Composite Shots:

Many shots involve the integration of live-action footage with CGI elements. The careful blending of these elements is crucial for maintaining the illusion of reality within the fantastical setting.

Digital Doubles and Stunt Work:

Scenes involving intense action and stunts may use digital doubles for safety or to achieve impossible feats. The creation of realistic digital doubles involves advanced VFX techniques.

“The Avengers” is known for its groundbreaking visual effects, and the Battle of New York is a prime example of how VFX can bring a comic book world to life on the big screen. The seamless integration of practical and digital elements allows for a visually stunning and immersive cinematic experience.

.Matte Painting:

A matte painting is a technique used in filmmaking and visual effects to create realistic and expansive backgrounds that would be impractical or impossible to film on location. It involves painting or digitally creating a highly detailed, realistic image that serves as a backdrop for a live-action scene.

Traditionally, matte paintings were painted on glass or other transparent material and placed in front of the camera during filming. The live-action footage would be shot with the actors in the foreground, and the matte painting would fill in the background, seamlessly blending with the real elements. This allowed filmmakers to depict scenes in exotic locations, fantasy worlds, or expansive landscapes without the need to physically travel to those places.

With advancements in technology, digital matte painting has become more prevalent. Artists use digital tools such as graphics tablets and software like Adobe Photoshop or dedicated 3D modeling and rendering programs to create intricate and realistic backgrounds. These digital matte paintings can then be seamlessly integrated into the live-action footage during post-production.

Matte paintings are an essential part of visual effects in modern filmmaking, helping to create stunning and immersive environments that enhance the overall cinematic experience. They are used in various genres, from fantasy and science fiction to historical dramas, providing filmmakers with the flexibility to tell stories in diverse and visually captivating settings.

Digital Compositing:

Process: Digital compositing involves using computer software and tools to combine visual elements from different sources. This can include live-action footage, CGI (computer-generated imagery), and other visual effects elements.

Flexibility: Digital compositing allows for a high degree of flexibility and control. Artists can easily manipulate and fine-tune elements, adjust lighting, colors, and apply various effects to achieve the desired result.

Workflow: The workflow is often faster compared to traditional methods. Changes can be made more efficiently, and artists have the advantage of non-destructive editing, where adjustments can be undone or modified at any point in the process.

Examples: Many blockbuster films heavily rely on digital compositing for complex visual effects sequences. This includes scenes with superheroes, alien worlds, and large-scale destruction.

Physical Compositing:

Process: Physical compositing involves combining visual elements in the real world, often using practical effects and in-camera techniques. This can include matte paintings, miniatures, and other physical elements filmed on set.

Authenticity: Physical compositing can provide a tangible and authentic look, as the elements are physically present during the filming. It’s often used for classic filmmaking techniques like matte paintings and model work.

Challenges: Physical compositing can be more time-consuming and expensive. Creating and filming practical effects may require significant resources and planning. Mistakes during filming might be costly to correct.

Examples: Older films often relied on physical compositing due to the limitations of digital technology. For example, the original Star Wars trilogy used miniatures and matte paintings extensively.

In modern filmmaking, a combination of both digital and physical compositing techniques is often used to achieve the best results. Filmmakers choose the approach that aligns with the specific visual requirements of a scene and the available resources.

My essay class presentation PowerPoint:

My essay (assignment 2):

The Evolution of Visual Effects in Cinema: A Comprehensive Exploration

 

   The filmmaking world has undergone a transformative journey over the years, one of the most significant catalysts for this evolution is the advent of Visual Effects. This tool has become indispensable, offering filmmakers unparalleled possibilities. This essay will cover: exploring advantages in modern cinema, specific applications in the superhero genre, remarkable versatility, critical perspectives from film critics, and the breakthroughs that have shaped its trajectory throughout history.

 

   Visual Effects have revolutionized filmmaking by providing filmmakers with a vast array of tools to enhance storytelling and create immersive visual experiences. One of the primary advantages of VFX is to seamlessly blend the real and the imaginary, transporting audiences to fantastical worlds that were once constrained by the limits of practical effects. Today, filmmakers can bring to life awe-inspiring landscapes, mythical creatures and extraordinary events with a level of realism previously unattainable. 

 

   The integration of VFX enables the creation of scenes and sequences that would be logistically challenging or economically unfeasible with practical effects alone. Filmmakers can now explore narratives that span multiple dimensions, time periods, or galaxies, pushing the boundaries of creativity and imagination. From epic battles in the cosmos to intimate character-driven moments, VFX empowers filmmakers to bring their visions to the screen in ways that captivate and resonate profoundly with audiences.

 

   The superhero genre has been particularly transformed by the capabilities of VFX. Superheroes, with their extraordinary powers and astonishing adventures, demand a visual language that can convincingly convey the spectacular. VFX is pivotal in realizing the fantastical elements inherent in superhero narratives, allowing filmmakers to depict superhuman abilities, otherworldly environments, and epic battles on an unprecedented scale. Superhero films have become a breeding ground for cutting-edge VFX innovations. The seamless integration of motion capture technology to the creation of realistic digital doubles, VFX studios continually deliver visually stunning and emotionally resonant superhero experiences. The success of films like “The Avengers,” “Black Panther,” and “Spider-man: No Way Home” owes much to the seamless integration of VFX, enabling filmmakers to elevate the genre to new heights and capture the imaginations of audiences.

 

   Beyond its significance in blockbuster, VFX showcases remarkable versatility across genres. From subtle enhancements contributing to the overall atmosphere of films to transformative effects that redefine the boundaries of reality, VFX can be tailored to suit the unique needs of any narrative. In dramas, it can be used to accurately recreate historical settings, while in science fiction, it can bring alien worlds and futuristic technologies to life. The versatility of VFX extends to enhancing practical effects, creating a harmonious blend of the real and the digital. This synergy allows filmmakers to achieve a level of authenticity that resonates with audiences, even in genres where realism is paramount. The ability of VFX to adapt to diverse storytelling needs underscores its significance as a fundamental tool in the filmmaker’s toolkit.

 

   The versatility of VFX extends across genres, allowing filmmakers to specifically tailor its use for diverse narratives. However, versatility has not shielded VFX from criticism, with some arguing that its overreliance can detract from essential storytelling elements. The ongoing debate highlights the need for a balanced approach, where VFX enhances storytelling without overshadowing  crucial aspects of filmmaking.

 

   The history of VFX breakthroughs have continually pushed boundaries of what is achievable on screen. Green screen technology, CGI and motion capture, each innovation has contributed to the evolution of VFX, carefully shaping the cinematic landscape. As technology continues to advance, the future promises even more exciting possibilities for Visual Effects, ensuring that its role in filmmaking will continue to evolve and captivate audiences for years to come.

 

   While VFX has undeniably transformed the cinematic landscape, it has not been immune to criticism. Some film critics argue that the overreliance on visual effects can overshadow other essential elements of storytelling, such as character development and narrative depth. Critics comment that excessive use of VFX can lead to prioritizing spectacle over substance, diluting the emotional impact of a film. Conversely, VFX proponents argue that when used judiciously, VFX can enhance storytelling and contribute to more immersive cinematic experiences. They contend that the evolution of VFX reflects the evolution of storytelling itself, allowing filmmakers to explore narratives that were previously unattainable. The debate over the role of VFX in cinema is ongoing, reflecting the complex relationship between technological innovation and artistic expression.

 

   The history of VFX is punctuated by groundbreaking technological advancements that have reshaped the possibilities of filmmaking. One of the earliest breakthroughs was the introduction of green screen technology, allowing filmmakers to composite different elements into a single frame. This innovation laid the foundation for the seamless integration of actors into fantastical environments and has since become a staple in the VFX toolkit.

 

   The evolution of computer-generated imagery has been a transformative force in VFX. From the pioneering work in films like “Jurassic Park,” where CGI brought dinosaurs to life with unprecedented realism, to the intricate worlds of “Star-Wars”, CGI has pushed the boundaries of what is achievable on screen. Its interrogation has evolved from a novelty to an essential component of modern filmmaking, visualizing and executing concepts that were once confined by imagination.

 

   Motion capture technology represents another significant breakthrough in VFX. This technology, which captures the movement and expressions of actors animating digital characters, has played a crucial role in bringing to life iconic characters like Gollum in “The Lord of the Rings” and Caesar in “Planet of the Apes”. The marriage of motion capture and CGI has elevated the level of realism in digital character animation, contributing to emotionally resonant performances that bridge the gap between the real and the virtual.

 

   Visual Effects have transformatively emerged in modern cinema, offering filmmakers unprecedented possibilities and audiences immersive visual experiences. The advantages of VFX are evident in its ability to seamlessly blend the real and the imaginary, opening new frontiers for storytelling. In the superhero genre, VFX has become a cornerstone, conducting extraordinary characters and epic narratives to screen with realism. 

Bibliography:

 

Garcia, C. (2019) “The Art of Illusion: Visual Effects and the Construction of Cinematic Realities.” Studies in Visual Arts, 12(2), pp. 67-88.​

 

Johnson, E. (2019) “Digital Marvels: The Evolution of Visual Effects and Narrative in Superhero Films.” In: Advances in Film Technology. Academic Press, pp. 89-110.​

 

Kapoor, S. (2018) “Technological Transformations: Visual Effects and Narrative Innovation.” In: The Digital Frontier: Exploring the Technological and Narrative Evolution of Cinema. Palgrave Macmillan, pp. 132-155.​

 

Kim, S. (2016) “Digital Marvels: Visual Effects and the Evolution of Film Narrative.” In: Transformations in Cinema: Technological Innovations and Their Impact. MIT Press, pp. 78-95.​

 

Lee, M. (2014) “Virtual Realities: The Fusion of Visual Effects and Narrative in 21st Century Cinema.” Contemporary Film Studies, 40(3), pp. 189-210.​

 

Thompson, L. (2017) “Beyond Realism: Special Effects and the Shaping of Film Narratives.” In: Cinematic Realms: Exploring the Boundaries of Film. Routledge, pp. 45-68.​

Bonus assignment 2:

Revitalizing Classics: A Comparative Analysis of Film Remakes with Modern Visual Effects

   The film industry has always been characterized by its ability to evolve and adapt to changing technologies, storytelling techniques, and audience expectations. One notable trend in recent years is the surge of film remakes, driven by advancements in visual effects technology. This essay explores the impact of modern visual effects on film remakes, comparing and contrasting an originality classic with its contemporary counterpart. 

 

Advancements in Visual Effects Technology

 

   The advent of modern visual effects technology has revolutionized the way filmmakers bring stories to life on the big screen. From CGI to motion capture and reasoning rendering, the capabilities of visual effects have grown exponentially. This technological progress allows filmmakers to recreate and enhance the visual elements of classic films, providing a fresh perspective to a familiar narrative. 

 

Case Study: Original vs. Remake – Visual Spectacle

 

   To illustrate the transformative power of modern visual effects, let’s consider the classic film “King Kong” (1933) and its remake, “King Kong” (2005). The original film, a groundbreaking masterpiece of its time, relied on stop-motion animation and practical effects to bring the giant ape to life. In contrast, the 2005 remake, directed by Peter Jackson, utilized cutting-edge visual effects to create a Kong that was not only larger and more expressive but also seamlessly integrated into the live-action environment.

 

Character Development and Emotional Engagement

 

   While the advancements in visual effects contribute to the spectacle, the impact on character development and emotional engagement is crucial. In the original “King Kong,” the limitations of technology at the time may have hindered the depth of emotional connection between the audience and the titular character. In the 2005 remake, the nuanced expressions and realistic movements of the CGI Kong allowed for a more profound exploration of the creature’s emotions, fostering a stronger connection with the audience.

 

Storytelling Enhancements

 

Modern visual effects not only improve the visual aspects but also offer opportunities for storytelling enhancements. Filmmakers can now explore intricate worlds, create fantastical creatures and realize imaginative scenarios that were previously constrained by technical limitations. The remake of a classic film provides a canvas for directors to expand and enrich the narrative through these technological capabilities. 

 

Challenges and Criticisms

 

   Despite the positive aspects, the use of modern visual effects in film remakes has faced criticism, Some argue that an over reliance on CGI can diminish the authenticity and charm of the original work. Striking a balance between embracing technological advancements and preserving the essence of the ordinal is a challenge that filmmakers must navigate. 

 

   In conclusion, the mixture of classic films and modern visual effects brings both excitement and challenges to cinema. By comparing and contrasting original classics with their contemporary remakes, it becomes evident that visual effects have the power to revitalize stories, enhance emotional engagement and push the boundaries of storytelling. However, filmmakers must approach this transformation with a careful balance, ensuring that technological advancements serve as a tool for creative expression rather than overshadowing the timeless qualities of the originals. As we continue to witness the evolution of visual effects in filmmaking, the synergy between tradition and innovation will shape the future of cinematic storytelling.

 

Bibliography:

 

Abad-Santos. A, 2023, ‘Why does the Little Mermaid Remake Look so Bad?’, Vox [online] google Avilable from https://www.vox.com/culture/23730350/little-mermaid-remake-review-halle-bailey-visuals

 

Sewell-Peterson. S 2021, ‘Original vs Remake: Let the Right one in vs Let me in’, The Film Magazine