Week 1:

Concepts:

• Motion Capture: The recording of how objects or people move.
• Visual effects vs. Special effects: Visual effects are digital methods used in post-production that use software to create and manipulate images, while special effects are physical and mechanical effects performed on set and filmed directly by the camera.
• Matte painting: Painted representation of a set or location used to create an illusion of location in the movie.

Films:

Jason and the Argonauts:
Fantasy adventure film, Special effects artist: Ray Harryhausen, stop-motion animation visual effects artist.

Pirates of the Caribbean:

Luxo JR:
Two minutes short film about desk lamp. This desk lamp is famous for being shown at the beginning of Pixar movies. It is the first full 3D animated short film.

The Abyss:

The Abyss won an Oscar for Best Visual Effects in 1990. The director, James Cameron is also responsible for other successful movies such as Avatar and Titanic.

Tron (1982):
TRON is a sci-fi movie produced by Disney. It is one of the first movies to use computer graphics.

King Kong:

Tron: Legacy

The movie “Tron” was innovative because it was the first one to use CGI extensively in a full-length film.

Raiders of the Lost Ark:

In this movie, they used a technique called matte painting. Matte painting is a painted representation of a set or location used to create an illusion of location in the movie.

An Amercian Werewolf in London:
Explanation about how they made the transform scene

Terminator 2:

Won an Academy Award in 1991 for Best Visual Effects. This movie is well-known for its contribution to computer graphics development. It was the first time that a leading character in a film was partly created using computer graphics.

Favourite VFX shot:

Iron Man Suit Ups (and other favourite scenes) – YouTube – 6:05

Special effects shot:

To make Hagrid appear much larger, the VFX team used a mix of real effects and computer ways. They did this by creating sets in different sizes and using advanced perspective techniques.

Prince, S.(2010). Through the Looking Glass: Philosophical Toys and Digital Visual Effects

Perceptual Realism:

Stephan Prince claims that perceptual realism is the creation of a 3D world using digital methods and copying contextual clues from realistic concepts. These clues include the physical world’s characteristics and behaviours. Digital technologies allow filmmakers to recreate these clues in a perceptual reality that the audience finds believable because it follows the same physical rules as reality. The scenes still do not match exactly the reality that the audience knows, yet they are perceptually realistic because they interact in convincing ways with the actors and the digital animation. And because they are perceptually realistic, they can convince the audience to believe in the film’s imaginary universe.

Orthodox Assumptions about Visual Effects:

Prince argues that perceptual realism has affected two orthodox assumptions in film studies. The first one is that the focus on visual effects in films goes against the storytelling. This assumption suggests that the visual effects are making the film look visually impressive, but they may reduce the quality of the plot because there’s too much focus on them. The second assumption suggests that the act of seeing is a cultural activity and changes between periods. How the audience understands and analyses what they see in films is shaped and affected by the cultural and social context in which they live. Prince says that some visual effects that are shown to a certain group of people at a certain time may not be as relevant or clear at another time because of cultural differences.

Realism and Digital Visual Effects:

Prince claims that modern technology filmmakers now have improved their ability to create imaginary worlds, as seen in movies like Lord of the Rings and Avatar. This technology also provides them with new methods to implement perceptual realism. He mentions that digital methods help to create accurate historical and naturalistic scenes, almost “documentary-like style. For example, to age the characters or to create a scene that seems to be from a different time period. Even when a site exists, modern technology is used to create it rather than physically shooting there.

Week 2:

Key differences between “invisible” and “spectacular” visual effects:

Spectacular visual effects are those in which the audience can tell that the scene is not real and that visual effects were used to create it.
The idea is to make the audience excited. It could be shots from a fantasy or science fiction film.

Invisible visual effects are those that the audience is unaware of or thinks of as visual effects. The audience is not expected to realise that these effects were used to create the scene. For example, adding more people to a crowd, duplicating individuals, avoiding risky or complex scenes, and creating different environments. The goal is for the audience to be unaware that visual effects were actually used.

Week 2 reading:

In the article, Prince discusses the development of digital visual effects in cinema. He investigates and analyses the significant and often underestimated importance of digital visual effects in modern cinema. Prince challenges the traditional knowledge that thinks of special effects as a separate and minor part of filmmaking, mainly associated with spectacle and fantasy. Instead, he argues that digital visual effects have a direct connection to the storyline and creative aspects of filmmaking and that they are a key feature of films and not unimportant to them. Prince covers several topics related to digital visual effects, like their role in creating exciting and convincing scenes, their impact on lighting and colours, their impact on actor performance, and their contribution to the creation of environments. Prince also emphasises the link between classic and digital filmmaking processes, showing how the digital effects are seamlessly blended with live action. Also, he talks about the transition from traditional to digital filmmaking, emphasising that digital visual effects improved the film’s opportunities and not otherwise.  He argues that digital visual effects have improved filmmakers’ abilities to create convincing and realistic effects, so the audience wouldn’t be able to distinguish between the real and the fantastic. Prince’s main goal is to promote the respect and understanding of digital visual effects in cinema, recognising their importance in shaping the current cinematic experience and their ability to fill the gap between traditional and digital filmmaking.

Week 3:

Principles of illusion:

• assumption
• presumption
• context in reality

“Films have the power to capture dreams”

Persistence of vision:

the phenomena that make motion pictures possible. The eye – by which an afterimage is thought to persist the approximately one twenty-fifth of a second on retina.

What can you find out about George Melies? His work and influence on filmmaking.

George Melies, a French illusionist, actor, and film director who was born in 1861 and died in 1938, made significant contributions to the world of filmmaking. He was the leader in the use of production sketches and illustrations. He created an excellent portfolio of over 500 films over his entire career. Charles Chaplin called him “the alchemist of light” for his revolutionary work. Melies began his film career with basic daily events that he used in his theatre performances. He eventually began to film magic tricks to showcase his unique talents. “A Trip to the Moon,” an iconic film recognised for its creative concept and revolutionary special effects, is one of his most well-known works. The film not only created the science fiction genre but it also left an unforgettable effect on movie history.

Today, “A Trip to the Moon” remains a cinematic masterpiece, still appreciated for its creative storytelling and exceptional quality, even when judged by contemporary standards.

The King Kong Comparison

The 1933 King Kong film and the 2005 King Kong film, directed by Merian C. Cooper and Peter Jackson. Both of them are legendary films that relate the narrative of a giant ape brought to New York City from a mystery island. While both films have the same basic idea, they are very different in terms of narrative, technology, and special effects. Here’s a comparison of the two:

Character and Narrative:

• The 1933 version has a more classic adventure feeling, while the 2005 version has a more detailed and realistic environment.
• Character development has been improved in the 2005 picture, particularly for Ann Darrow and Carl Denham.
• In the 2005 Movie, Kong is given more complexity and emotion, making him a more sympathetic figure.
  Special Effects:

Special Effects

• The 1933 King Kong used practical effects and stop-motion animation.
• The 2005 version used modern CGI to create more realistic and dynamic effects.
• In the 2005 version, digital effects enabled increased realism, detail, and seamless integration with live-action scenes.

In summary, the 2005 King Kong benefits from modern technology, giving a more emotionally engaging and visually excellent illustration of the famous ape.

Gunning, T. (2006). The Cinema of Attractions Reloaded. Amsterdam University Press. (pp. 381-388).

In the article, Gunning goes into early cinema, providing insight on a unique idea known as “cinema of attractions.” By emphasising the presentation of attractive visuals and the act of impressing the audience, this approach damages the traditional idea of storytelling in cinema.

Early filmmakers, such as the Lumière brothers, were primarily concerned with showing the audiences the world. They displayed everyday events and situations, basically behaving as time and place windows.

Georges Méliès appeared as an important character in this historical environment, creating films filled with attractive and magical illusions. Méliès was more concerned with impressing the audience with his creative magic tricks than with creating narratives.

Gunning claims that, for instance, early films often had actors who broke the fourth wall by making direct eye contact with the camera and, by extension, the audience.  This method differed from later movie standards in which actors played their roles without acknowledging the audience and the camera.

Following that, the development of films experienced a shift towards storytelling, which was defined by the creation of characters and detailed plots. The “cinema of attractions” evolved into what we now call traditional cinema.

Nonetheless, Gunning claims that the concept of attractions continues to exist in filmmaking, but in different forms.  Even in today’s film, famous directors such as Spielberg and Lucas continue to use elements of “cinema of attractions”, engaging and making the audience excited.

In summary, Gunning argues that the “cinema of attractions” was an idea based on the potential to impress and excite the audience, with these features taking priority over traditional storytelling. It remains an important part of cinema’s history and deserves to be recognised and appreciated.

About Tom Gunning:

Tom Gunning is a well-known film historian who specialises in early cinema and cinematic genres. He has written over 150 essays and publications on these subjects. Gunning’s research looks at the connection between film and other parts of modernity, such as still photography, theatre, and magic lantern performances. He promoted the term ‘cinema of attractions’ shaping the study of early cinema by focusing on matters other than storytelling, such as the impact of cinema on how people view space and time, its connection to technology and its role in creating modern visual culture. His work goes further into film culture, unusual movements, the historical context of exhibition and criticism, and the audience’s experience throughout the history of film.

Week 4:

Ray Harryhausen

Write a short paragraph on who Ray Harryhausen was and why his work was important to the history of visual effects.

Ray Harryhausen was a pioneer in movie special effects. He was born in 1920 in Los Angeles and passed away in the UK in 2013. He’s often called the “father of fantasy movies.” His work was all about making fantasy creatures and monsters come to life on the screen using stop-motion animation. His movies were references to Greek myths and Arabian Nights stories. His magical effects made today’s audience “believe” in these incredible creatures. In fact, he inspired famous filmmakers like George Lucas, who said that without Ray Harryhausen, there might not have been “Star Wars.” Ray Harryhausen’s work changed how we see monsters in movies.

Write a short paragraph on a special effects technique that Harryhausen used, any technique from his films.

Ray Harryhausen’s famous special effects technique was known as “stop-motion animation.” He used this technology to film small models of creatures moving frame by frame. It created the illusion of real movement when it played at the right speed. This difficult approach enabled him to bring his unique monsters and creatures to life in films, like his famous skeleton warriors in “Jason and the Argonauts.” Harryhausen’s skill with stop-motion animation gave his films a mystical touch that made them unforgettable.

Manovich, L. (1995). What is Digital Cinema? Manovich.net. Retrieved from http://manovich.net/index.php/projects/what-is-digital-cinema

Manovich talks about how the use of CGI special effects in the film industry has become more important. Many recent successful movies rely entirely on these effects.

Manovich talks about the basic concepts of digital filmmaking and focuses on important changes in the filmmaking process. For example, digital technology enables the creation of scenes directly on a computer using 3-D animation, reducing the need for live-action shots. He says that once live-action is turned into digital format, it loses its unique connection to reality, becoming just another element that can be easily modified or improved.

Digital filmmaking combines the visual realism of live action with the creative flexibility of painting and animation. Editing and special effects, which were usually separate processes, now share connections in the digital world. Manovich defines digital cinema as a type of animation which includes live-action content along with painting, image processing, and both 2D and 3D animation.

Furthermore, Manovich mentions the comeback of hand-painted frames in digital filmmaking, which is inherited from early cinema practises. This handcrafted approach transforms cinema from automatic camera recording to accurate frame-by-frame adjustment, resulting in a unique cinematic experience. Digital cinema is presented as a type of animation where live action is used as an initial base to be combined with different digital elements, indicating an important change in the filmmaking environment.

 

Week 5:

Dune Version Comparison:

Dune 1984 which was directed by David Lynch and Dune 2020 which was directed by Denis Villeneuve are two film versions based on Frank Herbert’s science fiction novel.

Dune (1984) mainly used practical effects, miniatures, matte paintings and traditional visual effects techniques such as stop-motion. While the newer version (2020) mainly used CGI to create its visual effects.

The shield effect from 2021 Dune was replaced by the cardboard-box shield effect from 1984 Dune. The shield effects in 1984 movie were created using practical effects and optical compositing. The shield scenes on the 2020 version were digitally created, which made them more visually impressive.

In Dune 1984, stop-motion animation was used to create the sandworms, which may seem outdated by today’s standards. In the newer version of Dune, CGI was used to create the sandworms.

In the 2020 version, the story goes deeper into the “Dune” universe and Paul’s story, allowing for better character development, world-building, and complexity.
By splitting the story into two films, the 2020 version has more time to get into details resulting in a more developed storyline.

The Code (2011):

In ‘The Code’ documentary, Marcus Du Sautoy explains how fractal geometry, which is a type of geometry that repeats patterns, helps make computer graphics look more realistic. In this episode, he talks to Loren Carpenter from Pixar, who used this kind of technique to create realistic environments in movies. For instance, in “Star Trek II,” fractals were used to create the environment. He also mentions that fractals improved the visual quality of CGI objects such as clouds and mountains. All of this was inspired by Benoît Mandelbrot’s maths book, which made films and video games appear more realistic.

Benoît Mandelbrot, who was born in 1924 and died in 2010, was mainly famous for his work in fractal geometry. He created the term “fractal” and studied the “art of roughness” in nature. Mandelbrot was one of the first who used computer graphics to generate and display fractal geometric images. He showed how simple rules can be used to generate visual complexity.

Alvy Ray Smith

Dr. Alvy Ray Smith was born in 1943 and is a pioneer in the field of visual effects. He co-founded Pixar and Altamira, which were later bought by Disney and Microsoft, respectively. He is most known for his work in establishing the first digital paint system, as well as his contribution to the development of 3D computer graphics, which influenced animation and visual effects.

Loren Carpenter

Loren Carpenter was born in Michigan in 1947. He was a co-founder and chief scientist of Pixar Animation Studios. He worked on very famous movies such as ‘Toy Story’, ‘Finding Nemo’, ‘Cars’, ‘Monsters’, ‘UP, ‘Star Trek’, etc… Also, he was the one who invented the name “Pixar”. He invented revolutionary rendering and modelling algorithms for image creation and visual effects. His film ‘Vol Libre’ was the first computer animated film that used fractals to generate its graphics.

John Lasseter

John Lasseter was born in 1957 and is an American filmmaker and animator. He started his career as an animator at The Walt Disney Company, which he was fired from for promoting computer animation. Then he joined Lucasfilm, where he worked on groundbreaking CGI animation. (The computer graphics division at Lucasfilm was sold to Steve Jobs and Pixar in 1986.) His first mission was to direct a short animated movie, “The Adventures of André and Wally B.” (1984), which was one of the first films that used CGI to create characters. He worked on very famous movies such as ‘Toy Story’, ‘Brave, ‘Cars’, ‘Frozen’, ‘Finding Dory’, etc…

Edwin Earl ‘Ed’ Catmull

Edwin Earl Catmull was born in 1945 and is an American computer scientist. He is the co-founder of Pixar and was the president of the Walt Disney animation studios. In his early career, he became the director of the Computer Graphics Lab at the New York Institute of Technology.There, in 1977, he created a software called “Tween” for 2D animation that automatically generated frames of motion in between two frames.       His team struggled to create narratives in films using computers. He and his partner Alvy Ray Smith were unsuccessful in getting support from other studios until George Lucas noticed them at Lucasfilm.

He worked at Lucasfilm’s Industrial Light & Magic computer graphics division from 1979 to 1986. After that, he joined Pixar as they bought Lucasfilm’s graphics division and stayed there until 2006. In 2006, Disney purchased Pixar, and he continued to work there until his retirement in 2019.

Smith, A. R. (1982). Special Effects for Star Trek II: The Genesis Demo – Instant Evolution with Computer Graphics. American Cinematographer.

In the text, Alvy Ray Smith discusses the process of creating the special effects in Star Trek II: The Genesis Demo. He mentions that the movie was to be co-produced by Jim Veilleux and Ken Ralston at Industrial Light and Magic and collaborated with Lucasfilm’s special effects division. The team was asked to create four different scenes. To avoid straining the young team and unfinished software, Alvy Ray Smith proposed focusing on just one scene – the planetary “Genesis Effect”, where an imaginary spacecraft approached a dead planet. The team used CG and chose to implement fractal techniques into the scene, a method that adds planned randomness to an artificial environment. Smith says the team worked on various aspects, such as texture mapping, mountain building, motion blurring, and atmosphere generation.

Alvy Ray Smith, who led the project, mentions in his text people who played important roles in creating the special effects for the film, such as Loren Carpenter, who created the fractal mountains and atmosphere, Bill Reeves, who created the fire effects, and many other famous people in the industry. By mentioning these names, Alvy Ray Smith provides insight into how different team members collaborated to create the special effects for the film.

Week 6:

Uncanny Valley

Avatar avoided the uncanny valley by creating a new species which had human traits but definitely weren’t human

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

In the text, Masahiro Mori talks about a concept called “The Uncanny Valley.” This concept is a psychological effect where the more robots seem like humans, our affinity for them increases and then drops, creating a valley in the graph, which Mori called “The Uncanny Valley”.

This valley happens while creating robots that are too similar to humans but still not accurate enough. Industrial robots do not resemble humans, so people almost do not feel any affinity towards them (and will be located at the beginning of the graph). In contrast, toy robots, whose designer focuses more on appearance than their functions, are more human-like and are more loved by children. That’s why toy robots will be located more than halfway up the first hill of the graph. Mori discusses the effect of movement on the uncanny valley and mentions that human-like movement can either increase or decrease the affinity. Mori gives an example of a prosthetic hand that, despite its human-like appearance, can make people feel uneasy when it is moving.

Mori mentions that we can avoid the uncanny valley by choosing the right design. For example, eyeglasses that do not resemble real eyes may help escape the uncanny valley. He suggests creating a complete map of the uncanny valley to guide robotics research. Mori continues by looking into the possibility that the uncanny feeling is a human protection system that protects us from a possible danger related to creatures that are similar to humans.

Week 7:

The Illusion of Life

Classic Disney movies cartoons: Beauty and the Beast (1991), The Lion King (1994), Aladdin (1992), Cinderella (1950), The Jungle Book (1967), The Little Mermaid (1989), Tarzan (1999), Robin Hood (1973), Alice in Wonderland (1951), Peter Pan (1953)

The little mermaid:

The main character of The Little Mermaid is Ariel, a mermaid princess who dreams of exploring the world beyond her underwater kingdom.
Main Protagonists:
– Sebastian is a Jamaican hermit crab. Advisor to King Triton
– Ursula – The banished Sea Witch and sister of King Triton. half human half octopus.
– Flounder – a yellow blue colored tropical fish and Ariel’s best friend.
– King Triton –  the King of Atlantica and Ariel’s father

The scenery is mainly undersea. Some of the movie is over the sea as well.
The way that the characters are moving adapted to the fact that they move underwater. The movement of a large object will be more smooth and slow compared to small objects.

In “The Little Mermaid” (1989), we can spot several principles of animation:
1. Squash and Stretch: Ariel’s movements show flexibility, especially in her underwater scenes, emphasizing the fluidity of her motions.
2. Anticipation: Before Ariel swims swiftly or jumps out of the water, there’s a subtle movement showing her preparation, giving a hint about her upcoming action.
3. Timing: The timing of Sebastian’s movements, particularly in his famous song scene, showcasing rhythm and timing in animation.
4. Solid Drawing: Characters like King Triton or Ursula exhibit strong and well-defined shapes and forms, conveying volume and weight in their movements.
5. Appeal: Ariel’s design and animation evoke a sense of charm and relatability, making her a character the audience can connect with emotionally.

The 12 principles of animation:

1. Squash & Stretch
   Squash and stretch are used to make things seem heavy or flexible. For instance, when a ball bounces, you can flatten and widen it to show how it hits the ground.
   
2. Anticipation
   Anticipation is used in animation to prepare the audience for an action that is about to happen and helps make movements look real and believable.
   
3. Staging
   Staging in animation focuses on clear intentions: characters are posed to show what they’re up to. Strong silhouettes and compositions capture the whole idea. If a character or scene is well-designed, you can recognize it and its intention just by its silhouette.
   
4. straight ahead action & pose to pose
   Straight ahead is a sequence of drawings where the animator draws in turn to create the movement. This can be a creative an experimental way to work.
   Pose to Pose is planned action, key poses are mapped out, in-between frames are drawn in later.
   
5. Follow Through and Overlap
   Follow through is the idea that separate parts of the body will continue moving after the character has come to a stop. As a character comes to a stop from a walk, the arms may continue forward before settling in a down position.
   Overlap is very similar in that it means different parts of the body will move at different times. An example of overlapping action is when a character raises their arm up to wave: The shoulder will move first, then the arm, and then the elbow, before the hand lags behind a few frames.
   
6. Ease in & Ease out
   As any object moves or comes to a stop, there needs to be a time for acceleration and deceleration. Without slow in and slow out, movements become very unnatural and robotic.
   
7. Arcs
   Everything in real life typically moves in some type of arcing motion. Since it’s unnatural for people to move in straight lines, when animating, it is important to implement this principle of animation to ensure creating smooth, realistic movements.
   
8. Secondary Action
   Secondary action refers to the actions that support or emphasize the main action to breathe more life into the animation and create a more convincing performance. For example, an arm swing or hip weight shift should add to the movement of a walk.
9. Timing
   Timing incorporates the number of spaced frames dedicated to an action or movement; thus conveying speed. Even distribution of drawings gives a constant speed, more towards the beginning or end of a movement will cause the object to speed up and slow down. It helps convince the weight and mass of the object.
   
10. Exaggeration
    Exaggeration is used to push movements further, adding more appeal to an action, and should always be implemented to some degree. Exaggeration can make movements really cartoony, involving physical changes or supernatural touches. With some control, it can also make actions seem more realistic while still being fun. For instance, making a diving board jump more dramatic by pushing the character a bit lower before they leap. Or, exaggerating timing to add weight to a character or object.
    
11. Solid Drawing
    Solid drawing in 2D animation involves creating accurate drawings that consider volume, weight, balance, shadows, and anatomy in a pose. In 3D animation, posing a character rig requires attention to balance, weight, and silhouette. It’s important to avoid “twinning,” where mirrored poses create uninteresting positions like both arms on hips or both hands in pockets.
    
12. Appeal
    The combination of all the techniques working together.
    Appeal in animation means making things more charming, especially in posing. Character design is a key part—simple, relatable designs connect with audiences better than complicated ones. To stand out, exaggerate unique features like the jawline or youthful eyes for a memorable design. Remember, even villains need to be appealing in their own way.“While the live actor has charisma, the animated drawing has appeal. “ (Johnson and Thomas, 1981, p.62)
    

The “Nine Old Men” refers to Walt Disney’s core group of animators, considered legends in the animation industry. They were: Les Clark, Marc Davis, Ollie Johnston, Milt Kahl, Ward Kimball, Eric Larson, John Lounsbery, Wolfgang Reitherman, and Frank Thomas. These animators played a pivotal role in shaping Disney’s iconic animated films

Week 8:

What is composting?
Compositing is when different visual elements from separate sources, like actors, backgrounds, and effects, are combined together to create a single image using special techniques or software, often to create the illusion that all those elements are parts of the same scene. It’s like putting together a puzzle to make everything look like it belongs in the same shot.

Physical Composting:
A physical composite is the process of combining different visual elements or scenes using non-digital methods. This technique involves physically manipulating several elements like multiple exposures, matte paintings or in-camera effects to create a single unified shot. It is the process of combining different physical elements while filming to create a desired visual effect without using digital technology or post-production editing.

Digital Compositing:
Similar principles to physical compositing, different technologies and methods are used. It can be either layer-based or Nodal.
Layer-based compositing, as seen in software such as Adobe Photoshop and Adobe After Effects, arranges visual elements in layers. Changes are made by editing the individual layers. This method provides a simple, clear workflow that is usually used in simpler compositing projects or for 2D compositions.

Node-based compositing, using a network of linked nodes. Each node represents a specific function or element inside the composite, and these nodes are linked to define the flow of data and actions. This method is more flexible and powerful for complex compositing projects, allowing artists to create complex effects and edit multiple elements at the same time. Nuke software is using this method.

Digital compositing techniques:
– Green Screen – Replacing backgrounds
– Rotoscoping-  Isolating elements frame by frame for manipulation
– Matte Painting – Creating digital backgrounds for live-action footage
– 3D Compositing – Merging CGI with real-world scenes
– Tracking – Aligning CGI precisely with live-action movements.

Partial models:
Partial models are smaller or incomplete replicas of larger objects or environments used in filmmaking. They represent specific parts of larger objects or landscapes in a scene. It allows filmmakers to focus on and show specific elements without the need for full-scale sets or environments.

The Schufftan Process:
The Schufftan process is a pioneering VFX technique developed by Eugen Schufftan, a German cinematographer, in the early 20th century. The technique uses mirrors to combine live-action footage with miniatures or paintings, making actors appear to interact with non-existent or scaled-down environments. It revolutionized filmmaking by allowing elaborate settings without huge sets, influencing how filmmakers merge live-action with constructed scenes.

What different elements of the composite can you spot?

In this scene, they used a couple of compositing techniques to achieve the final scene.
They used a Green Screen to replace the background of the scene.
Also, 3D Compositing was used to merge the Iron Man suit and the infinity stones in the scene and on the actor. Tracking technique was used as well to align the CGI elements like the Iron Man suit and the infinity stones with Robert Downy JR. movements.

 

Essay Question:
Using historical examples, discuss how has Visual Effects impacted film narrative. “Computer generated effects are often blamed for bad Hollywood movies” However visual effects can often be a useful tool for enhancing storytelling with sound, colour and “experimental camera angles” (Mcclean, 2007)
Tip: Research and discuss opposing viewpoints, citing examples to support your argument.

Question 1: The Influence of Visual Effects on Film Narrative
The relationship between visual effects and storytelling in cinema has long been a subject of debate. Some people argue that the use of visual effects in movies overshadows and reduces the quality of the narrative. In this essay, I aim to prove that visual effects do not overpower a film’s narrative. There is not a direct connection between VFX and poor storytelling. Instead, visual effects can enhance storytelling, developing a deeper audience engagement and a better understanding of the story. Scholars such as Prince, Gunning and Shilo share ideas that expand beyond the belief that special effects overshadow storytelling. The goal is to challenge these assumptions and explain how visual effects truly shape movie narratives.

Shilo (2008) gives an example of Paul Byrnes, who criticizes Hollywood CGI movies like “Van Helsing”, and describes them as problematic due to the dominance of technology over storytelling. Brynes says that despite being visually impressive, these films often lack of engaging storytelling. He believes that using too much technology reduces the quality of the narrative, making it less meaningful. Moreover, he highlights how the story in such movies becomes repetitive, and always goes to confrontations between characters representing “good” and “evil.” Overall, he believes these movies prioritize looking visually impressive over having a good and meaningful plot.

In his book, Shilo (2008) explores reasons for poor storytelling that aren’t linked to visual effects. He identifies several key factors like weak character development, where characters lack depth or complexity, leading to a weaker connection between the audience and the story. Also, script issues and plot structure problems contribute to ineffective storytelling. These issues, such as underdeveloped characters or bad scripts, significantly impact a movie’s storytelling. Moreover, changes from original sources and relying too much on spectacle affect a story’s harmony. In essence, narrative quality problems are complex and go beyond just visual effects.

In contrast to the belief that VFX reduces the quality of storytelling, Prince (2012) emphasizes the potential of visual effects as an important tool in enhancing a film’s storytelling. Prince’s viewpoint reveals how visual effects are an important tool for conveying messages and improving overall storytelling quality in films.

Prince (2012) explores how visual effects have a direct connection to different aspects of filmmaking. Visual effects play a crucial role in building scenes, affecting lighting and colours, and shaping actor performances. These effects serve a crucial part in creating a realistic environment that is important to the story. Instead of just adding decoration, they directly contribute to the telling of complicated stories and the creation of imaginative worlds.

The visual effects in films aren’t a separate part of the storytelling process. They’re essential tools for creating engaging narratives, and they act as triggers to enhance the story rather than taking the spotlight. When filmmakers combine these effects smoothly into the story, they boost emotional connections, highlight themes, and convey their message to the audience better.

Shilo (2008) have the same opinion as Prince on visual effects as narrative enhancers rather than detractors in filmmaking. When visual effects are used properly, they have the potential to enhance storytelling by creating environments, opening new creative channels for storytellers, allowing them to explore themes they could not explore, and boosting emotional connections. Also, using the visual effects wisely can improve a film’s narrative depth and audience engagement rather than just functioning as visual decorations. They highlight important elements in the story, directing the focus of the movie and making complex ideas clearer.

Examining “Avengers: Endgame” movie as a case study demonstrates how outstanding visual effects can enhance and bring to life an already strong narrative. The film’s flawless use of visual effects isn’t just about spectacle – It blends them into the storytelling, making everything work together seamlessly. “Avengers: Endgame” uses CGI-enhanced characters such as Thanos, Hulk, and Rocket, as well as elements like the Iron Man suit, Spider-Man suit, and Thor’s hammer. These elements work together to increase the impact of the narrative, visualise complex ideas, evoke deeper emotions and create a stronger connection between the audience, the storyline and the characters, especially during epic battle scenes and moments of emotional depth. The relationship between outstanding VFX and strong narrative shows how visual effects, when aligned with the narrative concept, contribute to a film’s overall impact and success.

The memorable, heart-breaking death scene of Tony Stark (Iron Man) in the movie demonstrates the impact of visual effects in storytelling. As Tony Stark wears the Infinity Gauntlet and faces Thanos, the visual effects heighten the importance of the moment.

The subtle yet crucial details, like the energy field surrounding Stark’s body, the luminosity of the infinity stones, the CG facial burns signalling his life fading, as well as the obvious visual effects like the background changes, colour correction, and the CGI Iron Man suit, deeply engage the audience in the weight of his sacrifice.

These visual effects go far beyond just being impressive. They deeply add to the story by showing the heavy cost of wielding such enormous power. Tony Stark’s death scene is visually shown as his arc reactor slowly dims out, symbolizing the end of his journey as Iron Man. These clever visual effects don’t just make the scene more emotional but also give a heartfelt conclusion to Stark’s character story, illustrating his growth from a self-centred genius to a heroic figure.

In conclusion, when aligned with the narrative concept, visual effects play an important role in enhancing a film’s narrative. Issues like weak character development, script flaws, and plot complexity may reduce audience engagement, impacting the narrative’s quality. Visual effects are important tools for crafting engaging narratives and aren’t separate from storytelling. When filmmakers seamlessly blend these effects into the story, they enhance emotional connections, highlight themes, and successfully communicate their message to the audience. The relationship between excellent visual effects and a great narrative, as shown by the emotional death scene of Tony Stark (Iron Man) in “Avengers: Endgame,” shows how visual effects can enhance, rather than overshadow, a film’s storytelling abilities.

McClean, Shilo T.(2008). Digital storytelling: the narrative power of visual effects in film. The MIT Press. https://www.vlebooks.com/Product/Index/1999448?page=0&startBookmarkId=-1

Gunning, T. (2006). The Cinema of Attractions Reloaded. Amsterdam University Press. (pp. 381-388).

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

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