WEEK 01

Introduction to the Module. Topic: The Age of the Image and the Trend of the Lens

What do you consider to be a Current Trend of VFX? 

• Virtual Productions

Virtual production combines physical characters and virtual environments, merging in real time to produce movie scenes. This new trend allows filmmakers to create complex scenes in real time by reducing the post-production cost and time.

Behind the Scenes of picture ” Thor ” – ILM’s most powerful virtual production toolset

• 3D scanning

3D scanning analyses a real-world object or environment to collect three-dimensional data on its shape and appearance.Those data can produce digital 3D models.

• Photogrammetry

Photogrammetry captures images and stitches them together to create a digital model of the physical world.

 

• Motion Capture

Motion capture is a technology-driven method of capturing an actor’s motion and physical performance into a CGI character. Mocap can track various types of activity, such as facial expressions and body movements.

Dawn of the planet of the apes

What is mocap  •  Mocap animation

 

ABBA Voyage

ABBA Voyage is a virtual concert residency featuring the iconic Swedish pop group ABBA. During the concerts, the band’s virtual avatars, dubbed ‘ABBAtars’, are brought to life utilising motion capture and performance techniques. The band’s choreography is based on the natural movements of the original members, which were captured using younger body doubles.To create the virtual band members, the four original ABBA members wore motion-capture suits and performed a 22-song set over five weeks. A total of 160 cameras were used to capture their movements, which were later enhanced with graphics by Industrial Light & Magic, the visual effects company behind the Star Wars franchise.

Trend of the Lens

 Harold Eugene Edgerton (1903 – 1990) American

 

Harold Edgerton images each with a VFX shot

The Metrix

 

Frank Shaver(Joseph Gordon-Levitt) blocked head shot

The Metrix

The Rundown

 

Week 01 written post

What is meant by Dr James Fox’s phrase ‘The Age of the Image’? How does he use this phrase to explain the use of images in our age?

Dr James Fox – Age of the Image (2020)

In today’s world, images have become the primary communication and information dissemination mode. Dr. James Fox refers to this era as ‘The Age of the Image,’ which has been made possible by the advancement of technology. The advent of social media platforms, smartphones, and high-quality cameras has significantly boosted the production and consumption of images. Pictures and videos capture, edit, and share our experiences, shaping our identities and the narratives we create. As a result, our personal and collective histories are increasingly recorded in images, transforming them into powerful tools of storytelling and self-expression.

‘The Age of the Image’ also highlights the power of visuals in shaping public opinion and political discourse. Iconic images have the potential to influence and mobilize people, as seen in the impact of viral photos or videos on social and political movements. Images can galvanize people to action and serve as symbols of change.

Moreover, the phrase emphasizes the importance of visual literacy in the modern world. We encounter a deluge of images every day, and we must be discerning consumers capable of critically evaluating the messages embedded in visual content. ‘The Age of the Image’ reminds us of the need for media literacy education to develop a critical eye and ensure that we engage with images responsibly.

In conclusion, ‘The Age of the Image’ speaks to the pivotal role of images in our contemporary world. It emphasizes the transformative impact of visual media on our personal lives, collective experiences, and societal dynamics. To navigate this age successfully, we must understand the power and significance of images in shaping our perceptions and realities.

 

‘A New Reality‘ (2020) Age of the Image, Series 1, episode 1. BBC 4, Television, 24 February, 21:00.

 

WEEK 02

The Photographic Truth-Claim

Plato’s “Allegory of the Cave”

Plato’s ‘Allegory of the Cave’ is a philosophical concept that explores human perception. According to Plato, knowledge gained through the senses is merely an opinion, and true knowledge can only be acquired through philosophical reasoning.

The allegory portrays a group of prisoners who have never been outside their cave. They are bound together and can only see the shadows cast by a fire, mistakenly believing them to be real. One of the prisoners manages to escape and discovers that his perception of reality was flawed. He sees the sun as the source of life and finds beauty and meaning in the world beyond. The former prisoner then returns to the cave to share his newfound knowledge with the others, but they reject his ideas and even threaten to kill him if he tries to set them free.

This philosophical concept can also be applied to the world of visual effects (VFX). For instance, it can be seen in compositing, 3D models, and procedural effects.

 

Plato’s Divided Line

Plato’s Divided Line, Cave Allegory, and Sun Analogy are all parts of the central section of the Republic. These three concepts express the core message of the philosophical work.

Plato uses a line divided into four grades or levels to explain human knowledge. The levels differ in clarity and truth. Imagine a line divided into two sections of different lengths (Figure 1, hash mark C). The upper level corresponds to Knowledge and is the realm of Intellect. The lower level corresponds to Opinion and concerns the world of sensory experience. Plato doesn’t specify the length of each section, but the general consensus is that the Knowledge section is longer.

Now, bisect each section (hash marks B and D). You will get fourth Plato’s Divided Line, Cave Allegory, and Sun Analogy are all parts of the central section of the Republic. These three concepts express the core message of the philosophical work. To explain human knowledge, Plato uses a line divided into four grades or levels.

From highest to lowest, these are:

• noesis (immediate intuition, apprehension, or mental ‘seeing’ of principles)
• dianoia (discursive thought)
• pistis (belief or confidence)
• eikasia (delusion or sheer conjecture)

 

WEEK 02 – Writen Post

What you think is meant by the theory: The Photographic Truth-Claim? According to TOM GUNNING’s

What’s the Point of an Index? or, Faking Photographs

Photography has always been considered as a reliable medium that captures moments in time and produces an unmediated visual record of reality. This belief is rooted in the indexical nature of photography, where there exists a direct cause-and-effect relationship between the subject and the photographic representation. The photographic truth-claim theory asserts that photographs possess a unique quality that makes them inherently convincing and truthful. They are often seen as objective depictions of reality.

However, Tom Gunning’s essay “What’s the Point of an Index? or Faking Photographs”(2017) challenges this theory by highlighting the potential manipulation and falsification of photographs. Advancements in technology have made it possible to create entirely fabricated images that are so convincing that it becomes difficult to distinguish them from real photographs. This raises concerns about the authenticity of photographs and undermines the notion of their inherent truth.

Gunning’s work prompts us to critically examine the foundations of the photographic truth-claim in a world where the boundaries between reality and illusion have become increasingly blurred. Photographs can be manipulated, retouched, and altered in ways that challenge their historical role as objective witnesses to reality. We must approach photographs with a discerning eye and acknowledge their potential for honesty and deceit.

In conclusion, Gunning’s essay encourages us to question the power and limitations of photographic representation. While photographs may capture moments in time, they are not infallible records of truth. We must reevaluate the concept of the photographic truth-claim and consider photographs as potentially fallible documents that can reveal and conceal the truth. This theory prompts us to engage with images more critically and understand their complex relationship with reality in our digital age.

Gunning, T. (2017)  PLENARY SESSION II. Digital Aestethics. What’s the Point of an Index? or, Faking Photographs . Nordicom Review, Vol.25 (Issue 1-2), pp. 39-49.

WEEK 03

Faking photographs:

Image Manipulation and computer collage

 

Faked Analogue photographs

 

John Paul Pennebaker (American, active 1903–1953). Sealed Power Piston Rings, 1933. 1934 Art and Industry Exhibition Photograph Collection, Baker Library Historical Collections, Harvard Business School, Boston, Mass. © John Paul Pennebaker

Faked Digital photographs

WEEK 03 – Writen Post

Write a definition of VFX compositing. What is it and how does it work?

Visual effects compositing is a technique of combining different visual elements to create a final image or sequence that appears seamless and realistic. This technique is widely used in film, television, advertising, and video games to create stunning visual effects that are impossible or too expensive to achieve in real life.

The process of compositing involves bringing together multiple elements, such as live-action footage, computer-generated imagery (CGI), and special effects, and then blending them together in a way that makes them look like they belong in the same scene. This is done by manipulating various properties, such as colour, lighting, shadows, and reflections, to match the characteristics of the different elements.

Realism and composite images are two different concepts in visual effects. Realistic images aim to create an authentic representation of real-life objects or scenes, while composite images involve combining multiple images or elements to create a new image that may or may not be realistic.

Realism in cinema is not limited to “indexicality.” Stephen Prince proposes a “correspondence-based model of cinematic representation” (Spring 1996) that emphasizes how photographic images and edited sequences are isomorphic with their corresponding real-world displays. In 2007, Tom Gunning argued that the index is not the best nor the only way to approach cinematic realism.

There are many different tools and software programs used in the compositing process, such as Nuke and Adobe After Effects. These programs provide a wide range of features and capabilities, including keying, rotoscoping, tracking, and masking, which help to make the compositing process more efficient and precise.

In conclusion, creating visually stunning and realistic sequences through the process of visual effects compositing is a complex and intricate task that captivates audiences and enhances the storytelling experience.

Casetti, F. (2011) ‘Sutured Reality: Film, from Photographic to Digital.’ October, Volume 138, pp. 95-106.

Stephen Prince, “True Lies: Perceptual Realism, Digital Images, and Film Theory,” Film Quarterly 49, no. 3 (Spring 1996), p. 32.

Tom Gunning, “Moving Away from the Index: Cinema and the Impression of Reality,” differences 18, no. 1 (Spring 2007), p. 31.

.

 

WEEK 04

Photorealism

This week, we will take an in-depth look at Photorealism and explore its manifestations in digital visual effects. We will also examine how different categories of film animation define Photorealism.

Photorealism is a style of painting and drawing that creates highly realistic artwork based on photographs. Photorealist art is often mistaken for photographs due to its incredible detail.

Have you ever wondered why our eyes always catch the harmful visual effects while watching a movie, despite the fact that VFX technology has improved significantly and film budgets have increased enormously? Wren Weichman, a former engineer and a self-taught visual effects artist, is a popular YouTube star who creates high-quality videos with stunning visual effects as a crew member at Corridor. Drawing from his experience as a fan of movies and a professional artist, Wren explains the visual effects pipeline and sheds light on how even well-intended effects can sometimes go wrong. He also discusses why the best effects might be the ones we don’t even notice.

 

Week 04 – Written Post

Define a “type” of photorealism.

The art movement of photorealism originated in the late 1960s and early 1970s, focusing on creating hyper-realistic images. It is a fascinating genre that challenges traditional notions of visual representation. In “New Media: A Critical Introduction” (New Media, 2008), the movement is explored in the context of contemporary art and media, shedding light on its significance in an age dominated by digital technology and virtual realities.

Photorealism is a painting style characterized by extraordinary detail, precision, and accuracy. The artwork is often so realistic that it appears almost indistinguishable from a high-resolution photograph. Artists like Chuck Close, Audrey Flack, and Robert Bechtle were instrumental in popularizing this movement.

Photorealism raises questions about the nature of representation in the digital era. The movement reflects a desire for heightened fidelity and authenticity in a world flooded with images. In the age of photography and deep fakes, where digital manipulation is rampant, photorealistic paintings are a powerful reminder of the value of tangible, handcrafted art.

Moreover, the critical introduction may address the role of photorealism in provoking dialogue about the impact of technology on art. As new media technologies continue to shape the art world, photorealism challenges us to reevaluate what constitutes “real” and to appreciate the enduring allure of analogue, handcrafted art in an increasingly digital landscape.

In conclusion, photorealism, as discussed in “New Media: A Critical Introduction” (New Media, 2008), offers a unique lens through which to explore the tensions and intersections between art, technology, and representation. This movement raises thought-provoking questions about the relationship between reality and its representations in a world where digital media and new technologies redefine our understanding of authenticity and artistry

 

WEEK 05

What types of capture are used in VFX and why?

Visual Effects (VFX) use several capture methods to merge computer-generated imagery (CGI) with live-action footage or create digital environments and characters. Each method is selected based on the project requirements. Here are some common types of capture used in VFX and why they are employed:

1. Motion Capture (MoCap): Purpose: MoCap records the movement and gestures of real actors or objects to animate digital characters or objects realistically. It’s widely used in films, video games, and other media to bring life to CGI characters and creatures.

Why: MoCap provides a level of realism that is challenging to achieve through manual animation. It allows for the transfer of real-world movement to digital characters, resulting in natural and lifelike animations.

2. Performance Capture: Purpose: Performance capture records facial expressions, voice, and body movements simultaneously to create a complete digital performance. This is essential for creating realistic digital characters that convey emotions and speech accurately

Why: Performance capture ensures that digital characters not only move realistically but also express emotions and dialogue convincingly, making them relatable to the audience.

3. 3D Scanning: Purpose: 3D Scanning involves capturing the physical geometry and texture of real-world objects, environments, or actors to create digital replicas with high fidelity.

Why: 3D Scanning is used for digital set extensions, creating detailed environments, and replicating natural objects or characters in VFX. It allows for precise duplication of physical elements in a digital space.

4. Photogrammetry: Purpose: Photogrammetry involves capturing objects, scenes, or environments through high-resolution photographs from different angles and using software to construct 3D models.

Why: Photogrammetry is valuable for creating accurate 3D models of real-world objects and environments. It’s commonly used for recreating historical sites, archaeological artefacts, and realistic textures for 3D assets

5. Lidar Scanning: Purpose: Lidar scanning uses laser technology to measure distances and create detailed 3D models of objects or environments.

Why: Lidar scanning is employed in VFX for capturing real-world data with high precision, particularly for large-scale environments and landscapes. It’s used in creating digital terrains and large outdoor scenes.

These methods are essential tools in the VFX industry, enabling filmmakers and digital artists to seamlessly blend real-world elements with computer generated imagery, ultimately enhancing the visual storytelling experience in film, television, video games, and other media.

What is this data? How is it captured? Where is used?

1. Motion Capture (MoCap): This captures the movement and gestures of actors or objects. It involves tracking the positions of markers or sensors attached to subjects and recording their motions in a digital format.
2. Performance Capture: This type of capture records not only motion but also facial expressions, voice, and body movements, creating a complete digital performance.
3. 3D Scanning: It captures the physical geometry and texture of real-world objects, actors, or environments, converting them into digital 3D models.
4. Photogrammetry: It involves taking multiple high-resolution photographs of objects, scenes, or environments from various angles and then using specialized software to construct detailed 3D models.
5. Lidar Scanning: It uses laser technology to measure distances and create precise 3D models of objects or environments.

How VFX Captured Data Is Captured:

1. Motion Capture: Sensors, markers, or cameras track the movement of actors or objects, and the data is recorded digitally.
2. Performance Capture: Cameras capture the facial expressions, body movements, and voice of actors simultaneously.
3. 3D Scanning: 3D scanners emit lasers or use photogrammetry to capture geometry and texture information.
4. Photogrammetry: High-resolution photos are taken from multiple angles, and specialized software processes these images to generate 3D models.
5. Lidar Scanning: Laser technology is used to measure distances and create highly detailed 3D models of objects or environments.

Where VFX Captured Data Is Used:

1. Film and Television: VFX-captured data is extensively used in the film and television industry to create realistic and fantastical elements. This includes adding CGI characters, creatures, or environments to live-action scenes or enhancing practical effects.
2. Video Games: Captured data is crucial for character animations, realistic environments, and interactive elements in video games. Players experience lifelike movements and scenarios through the integration of captured data.
3. Advertising: Commercials and campaigns often use VFX-captured data to create eye-catching and memorable visuals.
4. Virtual Reality (VR) and Augmented Reality (AR): Captured data contributes to immersive VR and AR experiences, making digital elements interact seamlessly with the real world.
5. Archaeology and Cultural Preservation: Photogrammetry and 3D scanning are used for preserving historical artifacts and sites, as well as creating accurate digital reconstructions of ancient structures.
6. Engineering and Architecture: Lidar and 3D scanning help architects and engineers create precise models and assess construction projects.
7. Forensic Reconstruction: VFX-captured data is used in forensic science for accident reconstruction, crime scene analysis, and facial reconstruction. VFX-captured data offers endless possibilities for storytelling and visualization, making it versatile and vital in creating visually stunning and immersive content across various media platforms.

WEEK 05 Written Post

Comparing Motion Capture to Key Frame Animation

The art of animation has been revolutionized by two groundbreaking techniques – motion capture and keyframe animation. Both techniques offer distinct advantages and limitations, catering to different needs and creative goals. In this essay, we will compare motion capture and keyframe animation in terms of their processes, realism, control, and applications.

Motion capture is a technique that involves recording the movements of real-life actors or objects and transferring them to computer generated images (CGI). This process captures natural human action, providing unparalleled realism.

Tanine Allison, in her observations about motion capture used in the 2006 version of King Kong, highlights Peter Jackson and his team’s ability to frame motion capture in terms of authenticity and reference to the real world. She considers motion capture an example of “digital indexicality,” which is a blend of computer-generated images and reality recorded material. Motion capture demonstrates that indexicality persists even in the digital age (Allison, 2011, p. 326).

However, keyframe animation relies on animators manually creating and manipulating individual frames to achieve the desired movements. While it provides more creative control, achieving lifelike results may require more time and effort.

In conclusion, motion capture and keyframe animation are two distinct approaches to animation, each with unique strengths and weaknesses. Motion capture excels in capturing realism but may have control and creative flexibility limitations. Keyframe animation offers complete control but requires extensive manual work. The choice between the two depends on the project’s specific needs, the desired outcome, and the animators’ expertise. Both techniques have contributed significantly to the animation world and continue shaping how we experience and enjoy animated content.

WEEK 06 – Written Post

Case Study on Reality Capture

Lidar Lounge is a prominent 3D scanning company that operates primarily in the film, television, and virtual reality industries in the United Kingdom (UK) and the United States of America (USA). They use advanced terrestrial laser scanning technology and photogrammetry to analyse real-world objects and environments. This allows them to create detailed digital models and data that can be used in various fields, such as architecture, design, virtual and augmented reality, gaming, 3D printing, consumer products, forensics, archaeology, and real estate.

The film industry constantly pushes technological boundaries for immersive experiences. One of the latest breakthroughs in this regard involves using 3D scanning technology. This case study explores the impact of Lidar Lounge’s 3D scanning services on the movie ” Mary Poppins.”

Lidar Lounge has taken on many challenging projects, but one that stands out is the scanning of props for the movie Mary Poppins. The project involved scanning over 300 intricate props, including black, shiny umbrellas, and a crucial CG kite. CG Kites were the most essential 3D assets for the movie, and they were ultra-thin to scan.

The team encountered difficulties capturing the fine details of the props, and the topsy-turvy set sequence added another layer of complexity. The team had to scan objects on the ceiling, making it a night-long endeavor.

Lidar data is indexical, meaning that each point in the scan directly corresponds to a physical location in the scanned environment. While 3D scanning has advantages, it is essential to note that there may be better options for some situations. The decision to use 3D scanning or traditional 3D modelling depends on specific project requirements, desired level of detail, time constraints, and budget considerations.

(2020). UWL VFX. 27 February. Available at: https://www.youtube.com/watch?v=hSem3o2UXhE (Accessed: 14 November 2023).

3D scanning services: UK: USA: EU: CAN (2016) Lidar Lounge. Available at: https://lidarlounge.com/ (Accessed: 15 November 2023).

Week 7: Reality Capture (Photogrammetry) and VFX

We have been studying reality capture this week, with a focus on mimesis and hyperrealism. We learned about Factom Arte and their Veronica machine, which is capable of scanning busts with a high level of detail.

 

 

 

Week 8: Simulacra, Simulation and the Hyperreal

This week we take a look a look at the differences between a simulacra and a simulation – specificly the writing and theories of the philospher Jean Baudrillard.

In “The Precession of Simulacra” (1981), Baudrillard alludes to a fable by Borges.The fable tells how a detailed map of an Empire, the same size as the Empire itself, is created. The Empire gradually declines as time passes until it vanishes completely, leaving only the map behind. Consequently, the boundary between the original (the Empire) and the copy (the map) begins to blur. Once a representation of the Empire, the map becomes a model in itself, separated from its source.

 

What did Baudrillard think about The Matrix?

 

“The simulacrum is never that which conceals the truth—it is the truth which conceals that there is none. The simulacrum is true” (Baudrillard, 2010, p.1)

According to Baudrillard, simulation is a four-step cycle from representation to simulation. In Simulacra and Simulation, he describes the four phases of the image as follows:

• It is the reflection of a profound reality;
• It masks and denatures a profound reality;
• It masks the absence of a profound reality;
• It has no relation to any reality whatsoever: it is its own pure simulacrum.(Baudrillard, 2010, p.6)

Baudrillard coined “hyperreality” to describe a world where models generate an artificial reality that lacks a genuine reality. The simulated world is more real than the real world, created as per the model. According to Baudrillard, we seek out simulated stimuli rather than genuine experiences, leading to a copy world where everything appears to be a simulation.
(Santoso and Wedawatti, 2019, p.69)

 

My choice of essay:

The Truth Claim in Photography and its Implications in The Crown Tom Gunning’s theory of the truth claim in photography has significant implications for understanding the visual effects presented in The Crown television series. This essay will discuss how the indexicality of photographs, as explained by Gunning, relates to the VFX work used in The Crown and how it contributes to creating a sense of realism in the series. Photography has always been considered a reliable medium that captures moments in time and produces an unmediated visual record of reality. This belief is rooted in the indexical nature of photography, where a direct cause-and-effect relationship exists between the subject and the photographic representation. The photographic truth-claim theory asserts that photographs possess a unique quality that makes them inherently convincing and truthful. They are often seen as objective depictions of reality. However, Tom Gunning’s essay “What is the Point of an Index? or Faking Photographs”(2017) challenges this theory by highlighting the potential manipulation and falsification of photographs. It has become possible to create images that are entirely fabricated using technology. These images can be so convincing that it becomes challenging to differentiate them from actual photographs. It raises concerns about the authenticity of photographs and undermines the notion of their inherent truth. Gunning’s work prompts us to critically examine the foundations of the photographic truth claim in a world where the boundaries between reality and illusion have become increasingly blurred. Photographs can be manipulated, retouched, and altered in ways that challenge their historical role as objective witnesses to reality. We must approach photographs discerningly and acknowledge their potential for honesty and deceit. Gunning’s theory of the truth claim in photography proposes that photographs are not only representations of reality but also claims of truth. He explains that photographs are indexical signs that refer to their subjects and are created through a direct physical connection between the subject and the photographic medium. This physical connection allows photographs to claim the truth about what they represent. The truth claim is evident in The Crown, which aims to present a historical account of the British Royal Family and their reign. For instance, the recreation of Buckingham Palace and other historical landmarks in the show is done with great attention to detail, which adds to the authenticity of the series. In his book “The Language of New Media” (2001), Lev Manovich presents a compelling argument that challenges the concept of photographic truth. He argues that photographs are not impartial depictions of reality but rather biased interpretations created through a sequence of decisions made by the photographer. Manovich believes every photograph results from a complex set of decisions the photographer makes, including framing, lighting, exposure, and post-processing. These choices are often informed by the photographer’s biases and perspectives and the cultural and historical context in which they work. Manovich argues that these choices shape how we see and interpret photographs and can significantly impact the meaning and message conveyed by a photograph. For example, a photographer may frame a subject in a particular way to emphasise certain features or convey a particular mood or emotion. Similarly, using different lighting techniques or post-processing methods can significantly alter the look and feel of a photograph. Therefore, according to Manovich, photographs are not objective or neutral representations of reality but are subjective interpretations that reflect the choices and perspectives of the photographer. This does not mean that photographs are inherently deceptive or untruthful, but rather that they should be understood as complex cultural artefacts shaped by various factors. Lev Manovich also discusses the concept of indexicality in photography in his book “The Language of New Media”(2001). He argues that the idea of photographs as objective records of reality is based on the assumption that photographs are indexical, meaning they have a direct causal relationship with the objects they depict. However, Manovich contends that this assumption needs to be revised because photographs are always mediated by technology and human choices. Therefore, rather than objective records of reality, photographs are subjective interpretations constructed by the photographer and their technology. The creative minds at Framestore had their work cut out for them when tasked with bringing the majestic stag to life for The Crown’s fourth season. This project posed new challenges for the studio as the fully digital creature departed from the show’s predominantly secondary use of digital effects. Framestore’s team poured their hearts and souls into crafting and animating this magnificent stag. The digital stag is hunted in the Scottish Highlands, and its appearance had to be so realistic that viewers would not even realise it was digital. Gunning’s theory on indexical photographs suggests that these images depict reality and serve as tangible proof. In essence, indexical photographs offer evidence that a specific event occurred or a particular subject existed at a specific moment. This aspect of the truth claim is also evident in the widely acclaimed TV series The Crown, which uses visual effects (VFX) methods to reconstruct historical events. By using VFX to recreate events such as Queen Elizabeth II’s coronation and Winston Churchill’s funeral, The Crown aims to provide concrete evidence of these occurrences, ultimately strengthening the show’s truth claim. The use of indexical photographs and VFX in The Crown is a remarkable technique that allows for a more vivid and realistic portrayal of past events. With this technology, the show can present historical moments with greater accuracy and detail, immersing viewers in a more compelling narrative. This approach enhances the viewing experience of history in a way that feels fresh and captivating. The other challenge for VFX was a subtle face replacement for Princess Anne during the show jumping competition, which aimed to make the replacement unnoticeable. To create a realistic atmosphere during the show jumping competition, the team added crowds to the stands using 2D sprites, which were shot on green screens by the production-side VFX team. This technique was also used in several shots throughout the series, including at various airports and in front of the Sydney Opera House, where the digital crowds blended in seamlessly with the live-action shots. Framestore also carried out several digital set extensions and replacements to make the environments appear realistic. For example, every exterior shot of Buckingham Palace was extended using beautifully crafted digital matte paintings, seamlessly blending in with the meticulously detailed physical recreations of the palace’s main entrance gates and archway. These matte paintings were inspired by real-life locations and historical research, ensuring that every detail was accurate. Overall, Framestore’s work on The Crown’s fourth season was remarkable, bringing the show’s historical settings and characters to life with attention to detail and technical expertise. However, the truth claim of photographs is not absolute, and Gunning acknowledges that pictures can be manipulated to deceive the viewer. This aspect is also relevant to the VFX work in The Crown, where images can be manipulated through visual effects to deceive the audience. For instance, the recreation of historical events in the show may be partially accurate, and some events may be presented in a manner that is only partially faithful to history. As part of their environmental efforts, Framestore was tasked with creating a photorealistic digital version of Uluru, also known as Ayers Rock and its ground texture. To accomplish this, VFX Supervisor Andrew Scrase journeyed to the Uluṟu-Kata Tjuṯa National Park in Australia to capture reference images that would serve as the foundation for a precise digital representation of the landmark. Andrew Scrase carefully respected the national park’s regulations and avoided photographing restricted areas. The reference images he captured proved crucial in producing an authentic digital rendition of Uluru, which can be experienced in the same manner as the actual location. The unique red surface of Uluru was a significant feature that required accurate representation in the digital version. The team thoroughly examined the reference images to ensure every detail was accounted for, resulting in a digital version indistinguishable from the real thing. In addition to Uluru and the Opera House, the team created digital versions of other renowned Australian locations for The Crown, such as Sydney Airport. Additionally, they replicated Mustique Airport in the Caribbean, Heathrow in the UK, and JFK in NYC. They used various DMPs and 2D elements to enhance the plates and added numerous CG aeroplanes, resulting in incredibly realistic visuals. This endeavour followed their work on series three, which included Heathrow and aeroplane shots. The historical drama series The Crown emphasises accurately portraying historical events and locations to immerse its viewers fully. The show employs VFX work, a technique that uses computer-generated images to enhance the visual effects on screen and creates an incredibly authentic depiction that transports viewers straight into the story. The impressive use of VFX in The Crown adds to its realism and bolsters the show’s credibility as a historical drama. Accurately recreating events and locations provides a sense of immersion, leaving the audience feeling like they are part of the story. This technique has been utilised for years, becoming increasingly refined over time. The Crown’s VFX work is a testament to the show’s dedication to portraying a believable depiction of history. The VFX work in The Crown is so well-executed that it is often hard to distinguish between what is real and what is computer-generated. It is a true accomplishment that sets a new standard for historical dramas. Overall, The Crown’s masterful use of VFX work enhances the audience’s viewing experience, making it an unforgettable journey through time. Standish Millennas, the VFX supervisor of the popular drama series “The Crown”(2020), has emphasised the crucial role of the show’s extensive environmental VFX work in establishing the overall scene and creating a seamless backdrop for the performances that truly define the series. Unlike in sci-fi or fantasy series, where the VFX often garners admiration for its spectacular and fantastical elements, the primary goal of the VFX in “The Crown”(2020) is to blend in with the natural environment and remain unnoticed. Through painstaking attention to detail and an unwavering commitment to realism, the VFX team has ensured no discernible difference between the natural and digital elements in any part of the series. As a result, viewers are fully immersed in the world of “The Crown” (2020), and the VFX work serves as an essential but almost invisible element of the show’s success. The Crown television series can be analysed through the lenses of Tom Gunning and Lev Manovich’s theories. Gunning’s theory of the impression of reality and the index applies to the series, as it employs visual cues like costumes, props, and settings to create a realistic representation of the show’s events and characters. Similarly, Manovich’s theory of the truth claim can be relevant, as the show uses digital media to present a narrative that is presented as a historical truth. One exciting aspect of The Crown, a popular TV series, is how it challenges the traditional concept of the index. The show uses advanced visual effects and digital media to create an ultra-realistic portrayal of historical events. This approach aligns with Gunning’s theory of moving away from the index, which posits that it is no longer a reliable reality marker in the digital age. By using modern technology, The Crown presents a version of the past that feels incredibly realistic but is also subject to manipulation and editing. This raises more profound questions about our perception of truth claims, as the show constructs a narrative based on selection and editing rather than a direct representation of reality. Overall, The Crown is a fascinating example of how digital media and advanced visual effects change our understanding of historical truth. Applying the principles of film theory to analyse visual media can be demonstrated through The Crown, which serves as a compelling example of this concept. An in-depth comprehension of how visual media can shape our understanding of reality and truth can be obtained by applying the principles of Gunning and Manovich’s theories. The show presents an opportunity to investigate further how film theory can be applied to contemporary visual media. Further analysis using these theories could provide valuable insights into the complex relationships between visual media and the construction of meaning. Through a deeper exploration of these concepts, we can develop a more intricate comprehension of how visual media influences our perception of the world and how we can employ film theory to acquire a more profound understanding of the potency of visual media in shaping our beliefs and perspectives.   Bibliography Manovich,L. (1996) Cinema and Digital Media. Perspectives of Media Art, Jeffrey Shaw and Hans Peter Schwarz (eds). Cantz Verlag, Ostfildern, Germany What is Digital Cinema,Lev Manovich (1995,pp.1-27) Gunning, T. (2007) Moving Away from the Index Cinema and the Impression of Reality. Brown University and differences: A Journal of Feminist Cultural Studies Gunning, T. (2013) ‘Whats the point of the index? Or faking photographs? Nordicom Review, pp.39-49 Framestore (2020) The Crown Season 4. Available at: https://www.framestore.com/work/crown-season-4?language=en (Accessed: 27th December 2023).