Title Date: 2001: A Space Odyssey (1968)

Director: Stanley Kubrick

the most famous director of the 20th century

Location: American

Title Date: The Abyss (1989)

Director: James Camron

Title Date: Jason and the Argonauts (1963)

Director: Don Chaffey

Raymond Frederick Harryhausen

Title Date: Pirates of the Caribbean: The Curse of the Black Pearl (2003)

Director: Don Chaffey

Title Date: Luxo Jr (1986)

Director: John Lasseter

Title Date: TRON (1982)

Director: Stephen Lisberger

Title Date: A Trip to the Moon (1902)

Director: Georges Méliès

Title Date: King Kong (1933)

Director: Merian C. Cooper

Title Date: The Lord of the Rings (2001)

Director: Peter Jackson

Title Date: Terminator 2: Judgment Day (1991)

Director: James Camron

 

My Fav Example of VFX shots from movies:

Harry potter’s enchanted dining hall which was covered with floating candles and enchanted to look like the sky above but there was no actual sky but a very realistic visual digital effect and dementors outside the Hogwarts castle.

Special effects

Harry potter goblin makeup and prosthetics. 

The Lord of the Rings is a trilogy of fantasy directed by Peter Jackson having Orcs with heavy makeup and prosthetics.

The various creatures in the Jurassic Park and Jurassic World films were created through a combination of animatronics and computer-generated imagery (CGI).

The Guardians of the Galaxy, Nebula is part-cyborg, a lot of makeup that is later augmented with CGI.

Prince, S. (2010) Through the Looking Glass: Philosophical Toys and Digital Visual Effects. Available at: https://filmoterapia.pl/wp-content/uploads/2015/07/Through-the-Looking-Glass-Philosophical-Toys-and-Digital-Visual-Effects.pdf (17 November 2023).

This article investigates how visual effects evolve in tandem with science. Understanding the science behind real-world features allows visual effects to physically alter these features in the realm of reality. The article delves into the works of a post-production firm, the Institute of Leadership (ILM).

The article also delves into ILM’s work, talking about their collaboration with Stanford University to improve the realism of their water simulation. Their research resulted in the invention of “Vorticity,” the phenomenon in which water swirls as it collides with and around products.

The article further investigates how visual effects create a sense of ‘perpetual realism’ and ‘realism and digital visual effects’, pointing out comparisons between the real and imaginary worlds of a film. Realism in digital visual effects is the use of a variety of effects, ranging from special effects to 3D effects, to accomplish a conceptualised or plausible notion for viewers to perceive. One example is a sequence from David Fincher’s film Zodiac. Many shots had to be graphically adjusted so that the photo seemed to be from a specific time. The fact is that, while the actual place still exists today, it will seem completely different structurally since it has long ago been altered as regions have been built over many years.

Key differences between ‘Invisible’ and ‘Spectacular’ VFX:

The distinction between spectacular and invisible VFX is the level of realism achieved by the effects. Spectacular visual effects are plainly fantasy, designed to enchant the spectator to a world beyond their own. However, invisible VFX is used to create the illusion that the fictitious world shown exists in the same plane as their own.

Comparing images from two shows below. The first picture is from a show named “Wednesday” which is fictional and fantasy which is well received by audiences seeking the thrill of escaping into a realm of fiction. Whereas, the second picture is from a show named “The Crown” which is a historical drama which the audience will feel is real and as if they are joining in a real-life event.

 

Wednesday is a fantasy adventure whereas the crown is a historical drama. Wednesday uses VFX by changing and creating the actual character into a fictional creature; whereas the crown uses VFX to focus on amplifying real-life encounters through emotive imagining.  

Prince, S. (2012) Digital Visual Effects in Cinema: The Seduction of Reality. New Brunswick: Rutgers University Press

The book explores the impact of digital visual effects (VFX) on the film industry. In the book, Stephen Prince argues that digital technology should be viewed as a toolset that can be utilised to better both realistic and fanciful films. He examines each of these equipment in detail, covering everything from image capture to lighting approaches to stereoscopic 3D. He examines how VFX have the power to blur the lines between reality and fantasy, captivating audiences with their ability to create immersive and breathtaking cinematic experiences.

The book provides insights into the history and evolution of digital VFX in cinema, discussing key practices, industry developments, and how VFX have reshaped storytelling and visual aesthetics in movies.

Arguments about the notion are that visual effects are employed for more than only aesthetic goals, but also to generate rules and conventions that viewers can use to construct a narrative. The visual effects employed to establish a narrative are typically more subtle, as they provide viewers with cues about the story.

Overall, it’s a comprehensive exploration of the role of digital VFX in modern filmmaking and its seductive allure in bringing fantastical worlds to life on the big screen.

George Méliès:

George Méliès (1861–1938) was a pioneering French filmmaker and illusionist. He is well recognized for his pioneering work in the early days of film, particularly his creative use of special effects, fantasy, and storytelling tactics.

Méliès made nearly 500 films in his lifetime, his best renowned being “A Trip to the Moon” (1902) and An Impossible Voyage (1904), which featured inventive sets, hand-painted colour, and unique special effects.

Unfortunately, Méliès experienced financial troubles and sank into obscurity following the introduction of feature-length films. However, his contributions to the creation of cinema and the art of filmmaking have since been extensively recognized, and he is now regarded as an important figure in cinematic history.

Week 3

Gunning, T. (2006) The Cinema of Attraction[s]: Early Film, Its Spectator and the Avant-Garde. Available at: http://faculty.las.illinois.edu/rrushing/470j/ewExternalFiles/Gunning,%20Cinema%20of%20Attractions.pdf (17 November 2023).

Tom Gunning’s article proposes the notion of “Cinema of Attractions” as a method of filmmaking that characterised the early years of cinema, particularly from the late nineteenth century to the early twentieth century. Gunning questions the usual view of early cinema as a predecessor to narrative filmmaking, arguing that these early films were more concerned with giving visual and sensory “attractions” to the viewer.

According to Gunning, the early cinema was not mainly concerned with conveying tales, but rather with providing a sequence of attractions to fascinate and interest the audience. Novelties, extraordinary effects, and direct appeal to the audience were among the draws.

Filmmakers of this era frequently addressed the audience directly, shattering the “fourth wall” in ways that subsequent films did not. This direct address added to the film’s sense of immediacy and contact with the audience.

Gunning recognises that there has been a movement from Cinema of Attractions to narrative filmmaking. Filmmakers began emphasising plot and character development, resulting in conventional Hollywood cinema’s domination. Gunning, on the other hand, claims that components of the Cinema of Attractions survived in various incarnations.

Gunning proposes a link between Cinema of Attractions and avant-garde filmmaking. In their rejection of traditional narrative frameworks, avant-garde filmmakers frequently embraced parts of the Cinema of Attractions by producing films that emphasised visual experimentation and audience participation.

Week 4

Manovich, L. (2001) ‘Digital Cinema’, The Language of New Media.

‘Digital Cinema is a specific type of animation that combines live action footage as one of its numerous aspects,’ explains Manovich. Digital cinema has taken over cinematography, sets, models, costume design, and even performers. Due to digitalization, ‘Digital Cinema is a specific type of animation that combines live action footage as one of its numerous aspects,’ explains Manovich fundamentals of filmmaking have shifted.

I’ve outlined the key ideas in the following points.

Firstly, an imaginary world is created using 3D computer animation, as opposed to adding details to a physical reality.

Secondly, live-action video remains identical to other graphic images after it is digitalized. As a result, it has lost some of its significance, and movies now rely on live-action videos to build wholly fictional images by altering, substituting and other techniques. Manovich claims that this is referred to as “elastic reality” by filmmakers.

Thirdly, special effects and editing were once distinct fields, but as images can now be altered using paint programs and other techniques, they have combined to become one. Special effects have been made simpler by computers, and a dedicated special effects specialist is no longer necessary.

Finally, Manovich summarises the definition of digital film as a combination of live-action footage, paintings, image processing, compositing, 2-D and 3-D computer animation.

Through his digital filmmaking principles, Lev has highlighted the contrasts between traditional and digital cinema, arguing that there is no need to film actual scenes because everything can be produced using computer graphics and animation.

About Lev Manovich was a prominent scholar and professor known for his work in the fields of media theory, digital culture, and new media art. He was born in 1960, Russia and later became a naturalized American citizen. Manovich is recognized for his significant contributions to understanding the impact of technology on contemporary culture.

Lev Manovich is the writer and editor of several articles as well as fifteen books. He wrote numerous books, including: The Language of New Media (2001), Software Takes Command” (2013), The Software Studies Initiative (2008) to name a few.

 

Week 5

Ray Smith, A. (1982) George Lucas Discovers Computer Graphics – Alvy Ray Smith. Available at: http://alvyray.com/Papers/CG/GeorgeLucas_Remembrances_Annals1998.pdf (Accessed: 17 November 2023).

Alvy Ray Smith discusses his time as Lucasfilm’s director of computer graphics in 1980, when their goal was to create a fully computer-generated film and he was specifically asked to develop three pieces of equipment, including a digital audio synthesizer, a digital video editor, and a digital film printer, at present known as a Pixar.

Smith also referred to people like George Lucas and Steve Jobs as “accidental visionaries” since they made investments based only on instinct rather than an understanding of the area’s potential. Later in the article, it was revealed that Alvy was given the flexibility to establish his team, which he did by gathering the top computer scientists.

Smith goes on to explain how a 3D sequence for Star Trek II: The Wrath of Khan was created. The director and designers were having difficulty deciding what could and could not be done with computer graphics, so he proposed giving him a night to think and establish a clear vision.

Further in the article, he discusses the ‘Genesis Demo’, a 60-second clip for Lucas in the film. Smith’s goal was to make a video that demonstrated that VFX could never be created by a camera. To achieve this incredible shot, the team decided to create a specific camera shot known as 6D Spline, which moves in sync with the spaceship.

At the end of the article, Alvy also talks about how their goal of creating a fully computer-generated film was achieved in 1995, 20 years later.

 

Remake tasks compare the same special effects vfx shots.

IT 1990 – 2017 movie

In the remake, Pennywise is a little scarier. I felt the remake actor’s performance worked better for the material because it was less comedic and more sinister. This, combined with the horrifying animation and direction by Muschietti, made the character much more menacing.

Pennywise the clown turns into a massive alien spider thing in both movies, but the remake is more convincing and better with the added affects from some visual effects.

The IT chapter 2 (Remake Sequel) mostly concentrated on the adult actors, but in order to make the younger cast appear their “age” in the flashbacks to their earlier selves, computer-generated imagery (CGI) was used. The youthful performers have clearly matured because It Chapter Two (2019) was shot two years after the original film.

 

Week 6

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

Japanese roboticist Masahiro Mori is well-known for his innovative contributions to the automation and robotics fields, published an article more than 40 years ago on how he imagined people’s reactions to robots that appeared and acted almost humanly.

Mori depicts the notion with a graph that compares the degree of human similarity on the x-axis to the emotional reaction on the y-axis. The graph indicates a positive reaction peak followed by a dramatic decline or “valley” when the robot is almost human-like.

Masahiro Mori’s concept of the uncanny valley refers to the uneasy feeling people experience when a humanoid robot or animated character closely resembles a human but still exhibits subtle differences. As the appearance becomes more realistic, our emotional response becomes more positive, but only up to a point. When the likeness is almost, but not quite, human, it can evoke discomfort or unease, resembling a “valley” in a graph of familiarity. This concept is often discussed in the fields of robotics and human-computer interaction.

When we look at the article in detail, he discusses the subtle design differences at present with industrial robots, toy robots, and prosthetic limbs and comparisons with a marionette puppet with an appearance similar to that of a human concerning ‘the uncanny valley graph’.

The article explores the practical ramifications of robotics and design, warning against developing robots that are too human-like unless designers can achieve a nearly faultless likeness. It emphasises the need of comprehending the emotional impact of humanoid robots on people.

Mori concludes the article by urging robotics researchers to begin understanding what makes us human and recommends that we begin by illustrating an accurate map of the uncanny valley. It is also critical to build this map with nonhuman designs that are simple for humans to comprehend.

Week 8

Types of compositing

Digital Compositing

Digital compositing is a post-production process in filmmaking that combines multiple images or video sources using specialized software like Adobe After Effects, Nuke, or Blackmagic Fusion, enabling filmmakers to create visually stunning and realistic sequences.

Physical Compositing 

Physical compositing is the practice of physically merging multiple components or shots in a scene rather than digitally utilising practical effects, props, and physical techniques. This technique entails filming individual pieces on film or video and physically layering or superimposing them to create the final composition. Physical compositing techniques include rear projection, double exposure, and in-camera effects. While digital technology has essentially superseded physical compositing in many applications, it remains an important technique, particularly in practical filmmaking where tangible, real-world effects are needed.

Matte Painting 

Matte painting is a traditional and digital filmmaking and visual effects process used to construct or enhance backgrounds or scenes that would be impractical or expensive to build or capture on location. Originally done on glass plates by hand, current matte painting is frequently done digitally with tools such as Adobe Photoshop. During the compositing process, the final matte painting is blended with live-action footage to achieve expansive or surreal backgrounds in films.

Movie: The Hunger Games: Catching fire

 

Presentation for Assignment 2 

Assignment 2 Essay Question

Introduction

This essay aims to investigate the question of “what is uncanny valley”. The aim is to explain its relationship with Special effects (SFX) and CGI in the field of visual effects (VFX) and explore its impact on twentieth-century digital cinema, citing examples of films and their contribution to technological advancements in animation over the years.

What is the uncanny valley? 

The Uncanny Valley is a theory that portrays the uneasy sense or discomfort that humans feel when presented with artificial entities that resemble but do not fully embody human characteristics, such as robots, characters, or animations. Masahiro Mori, a robotics professor at the Tokyo Institute of Technology, first presented this concept in 1970 when he produced an essay about the Uncanny Valley.

The idea behind the Uncanny Valley is explained by Mori as he illustrates the concept with a graph that connects the degree of human likeness on the x-axis to the affinity or emotional response on the y-axis. The moment the appearance or mannerisms of a non-human being grows more human-like, spectators usually have a positive emotional response. However, when an entity resembles a human but still has slight flaws, the emotional response plummets into a valley of discomfort or eeriness. This valley indicates the point at which the entity is near to being human, but the variances are significant enough to induce discomfort. The reaction gradually improves until the thing is nearly identical to an actual person.

In essence, the Uncanny Valley depicts a nonlinear relationship between the degree of human likeness and an observer’s emotional response. It is a common phenomenon in industries such as robotics, computer graphics, animation, and artificial intelligence, where designers and those who produce work make artificial things more lifelike while avoiding the disturbing impacts of the Uncanny Valley. (Mori, 2012)

The Uncanny Valley in Animation & Film. It’s related to SFX & CGI.

In twentieth-century digital cinema, there was a noticeable shift in filmmaking that emphasized special effects and computer-generated imagery (CGI), as many blockbuster films were driven by these fictitious aspects, feeding off their success. This encouraged filmmakers to strive for perfection in their portrayed characters. (Manovich, 2001)

This pursuit of hyper-realistic characters and settings in film and animation often leads to the Uncanny Valley. Filmmakers must navigate the delicate balance between achieving realism and avoiding the unsettling feelings that arise when human-like entities fall into the Valley.

Examples in Animation: Robert Zemeckis CGI Films 

One such example can be found with Robert Zemeckis, a preeminent director of the Hollywood system he made classics like Forest Gump, Cast Away and more but he moved away from live-action films and ventured into creating films with the help of CGI, utilised a new technique called performance capture to make animation. However, this created many setbacks which Zemeckis could not have comprehended being the audience’s reaction to these types of animation.

The first trilogy of films that Zemeckis would direct in an exclusively CGI aesthetic would be The Polar Express (2004) which faced criticism for technology to create realistic animated characters as appearances, while striving for realism were endearing at times, fell into the Uncanny Valley for some viewers particularly in the characters’ eyes and facial expressions.

The second film Beowulf (2007) continued Zemeckis’s exploration of CGI animation, employing a similar motion-capture technique. The film aimed for a realistic portrayal of characters, including human actors transformed into animated versions.

The film showcased advancements in CGI, striving for a high level of visual realism. However, like “The Polar Express,” some viewers found the characters’ appearances unsettling, especially in close-up shots where subtle imperfections became more apparent.

Zemeckis’s use of animation in “Beowulf” demonstrated an artistic choice to blend live-action elements with animation. The film’s visual style and the decision to portray characters realistically contributed to discussions about the challenges of the Uncanny Valley in CGI.

The Adventures of Tintin (2011)

Director Steven Spielberg’s “The Adventures of Tintin: Secret of the Unicorn” was one of the computer-generated images that attracted a lot of attention from the media because of its strange quality. Steven collaborated with visual effects company Weta Digital to use cutting-edge technology in the film’s creation. Novel face Mo-Cap technology and software were employed to record facial expressions. They used a plug-in program for Maya called Tissue to enhance the skin’s features, making creases and folds look more realistic and enhancing the illusion of fat and muscle beneath the skin. Many audience members felt that the conclusion was unsatisfactory and unconvincing despite the use of these innovative and advanced technologies and methodologies. Tintin and many other major characters in the film failed to build a profound relationship with the audience and as a result, plummeted down into the valley. I attempt to elucidate the possible causes for the characters’ failure to elicit a favourable reaction from both the public and critics.

Even in high-stakes, action-packed chase scenes, Tintin’s peculiar facial expression failed to convey any sense of fear or excitement, leaving the audience dissatisfied. Despite confronting dramatic scenes and risky activities, with an apparent lack of passion and authenticity in their facial expression, characters who should have been outraged or terrified on the edge of death remained unfazed. In this sense, rather than being fascinating, some people thought Tintin and other characters to be lifeless and boring. Others noticed that Tintin had lifeless, watery eyes and a dead gaze. It appears that the moment the audience sets eyes on Tintin and notices his contented, carefree expression, they begin to lose empathy for him. (Buchanan, 2011)

In conclusion, an increasingly common practice in the animation industry is to create virtual characters that are more and more lifelike as science and technology advances quickly. Because of the substantial advancements in computer-generated imagery, some argue that the Uncanny Valley is all about the technical challenges that the industries will face in the future. At some point, we might not be able to distinguish between a virtual and a real person.

Reference list:

Buchanan K. (2011) The Biggest Problem with the Tintin Movie Might Be Tintin Himself. Available at: https://www.vulture.com/2011/07/the_biggest_problem_with_the_t.html#:~:text=Aside%20from%20the%20swoop%20in,but%20the%20look%20is%20lacking. Accessed: 11 January 2024).

Tinwell, A. (2015) The uncanny valley in games & animation. Boca Raton, Florida: CRC Press.

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

Manovich, L. (2001) ‘Digital Cinema’, The Language of New Media. Cambridge MA: MIT press. (Accessed: 11 January 2024).

Wolchover, N. (2011) ‘Why CGI humans are creepy, and what scientists are doing about it?’, Live Science. Available at: https://www.livescience.com/16600-cgi-humans-creepy-scientists.html (Accessed: 11 January 2024).