VFX Artists React to Bad & Great CGi 13

hey daddy are you a CG person well look at my oh I think my favorite like effect over off in this whole video are the dancing robots watching here they didn't replace a lot of these faces so these underwater shots are something I kind of want to talk about it's a lot of people like we're kind of fooled I mean really all we did was just hi welcome back to another episode of VFX artists react today we're joined by my close friend Mike aka Mike diva here is an acclaimed music video director it's a pleasure to be here yeah I'm very honored so I started doing a lot of VFX work myself for my videos mostly out of necessity a lot of YouTube stuff I did like this video dubstep guns with you guys a lot of it was just me kind of learning the program and kind of just doing what I had to do to get the dumb stuff in my head out into the world and now I'm mostly focused on directing but it really helps to come from the visual effects background to really fully be able to direct for that sort of thing what's the first thing we're looking at here losing you don't know Mike recently directed the Anini music video for a lil Nass X intentional we had five days to from like getting the job to like shooting the video I literally had to shoot a previous to kind of act out the whole video and make sure that it works and like the concept works the best way I like to do it is by doing what I call a capo Matic what you guys have messed with before as well there's basically a storyboard that you just shot on your phone just to kind of give the general idea of what to expect right yeah yeah and it's really good for figuring out like exactly what works in the shot what does in framing action basically directing the whole video before I direct the video and then that way I know exactly what cuts together and like what does in Wow look at that it's pretty good running from the Holograms we use a lot of a lot of Avengers action figures there we literally got these action figures for previous purposes and there's me dancing performer at 2:00 a.m. you know it's we didn't know the lyrics Josh was like trying to read them off his phone like what are you reading off your phone we were putting together this video at 4:00 a.m. in the morning the day it was due the day it was like pretty much uploaded yeah there's like literally like so many VFX shots in every single shot we worked with the VFX house chimney to do this but also I had my own team on the side that was doing stuff like this car shot and all the window replacement and stuff like that but if you back up to that shot of her walking up to the car this is one of the shots that when I received it at 3:30 in the morning I noticed that the layer that she was on was transparent and you could see the car landing in front of her head and if someone accidentally left the opacity of her layer it like 70% or even like just 98% just enough that you can see the car going through your head yeah and there I've seen that in my own final renders and I'm just like oh there's nothing I could do I literally just had to boost the contrast so that you couldn't tell but like it's still technically the messed up shot but like so this shot right here there are so many neon light type effects in the shot how many of those are practical like I see some stuff like a sign there like a little smiley face the smiley face signs are like the only real signs in the scene and then like that was purple neon bars in the background first scene like this what I did was I most attracted the scene in After Effects and I had a bunch of different elements made and I placed everything in the scene where I wanted it you know so I had a bunch of fake brands made placed him in the scene and then I gave him to the VFX house and when do this but better and then for this stuff I was literally like animating and compositing the little NAS hologram effects like the morning of truly hours before it got released so wire work sucks and I hate it that's my take away from this so for this scene she couldn't actually wear the backpack because like it got caught up in with the wire work so that's a hundred percent CG backpack right there Wow we literally had like black gaff tape black tape on her shoulders Wow and they're like that's good enough so Mike as you know this show is called VFX artists react to bad and great CGI yes we even talked about any bad CGI yet we haven't I have one for you though clue from Tron Legacy look as you man I can't decide I feel like this kind of touches upon some of the kind of uncanny valley stuff that you guys have talked about before and the tech just like not quite being there yet but what it's interesting with this one is that I feel like it was kind of that in-between right but I feel like this is also like 10 years ago that they are making this right that big reveal I bet you they thought this is gonna be like an oh [ __ ] moment it's like it's not like no weight to it I feel like this is right up your alley Mike because of all like the neon lights and whatnot like like light designs you know well this movie was directed by a designer not in the car it's kind of got the PlayStation face going on Polar Express face I wouldn't say that I got Poland doesn't look that bad I think the lighting helps a lot but at the moment he starts talking every time any time in a CG face starts talking it falls apart instantly I'm not your father now I couldn't be in there all the time so man that's the kind of does stand out though oh now yeah the side profile now he looks there's something about his profile like it just doesn't yeah it's like real right the kids even like what the [ __ ] is wrong with me but they're doing a pretty good job of like making a very edge lit and so every most of this face facing the camera is in shadow so you're not really seeing too many details there it sells enough yeah but the shot when he opens the door and turns around it all falls apart me daddy are you a CG person well no everywhere like at the tighten your top like my ridges well that's the way it goes I'm go to their gate Mikko do you know what exactly is wrong with his skin in that shot though yeah I think actually is it the plastic look like I mean what's going on here the poorest don't stretch you're missing out on the micro details of the surface specifically the stubble and the facets of the skin so you know how snow sparkles of course of course everybody knows all snow sparkles right yeah it's the magic of Christmas mark is all sparkly and on your face all your pores are reflecting light here and there like there are straight-up sparkles on your cheek there's not really any of that on his skin yeah they have like a bump map to kind of like break up the reflections outside of just your skin being rough and having service detail your skin also has hair on it and maybe they're trying to do the hair but whatever they're doing here is not working and this is a great example if you look at that oh s--- from Avengers he has stubble on his chin and these little bits of hair they're sticking out or catching the light and casting shadow and even when you're not on your beard area even on the rest of your face you still have hair on your face like you have peach fuzz on your cheeks these hairs are all missing because that's an extra million millions of millions of polygons on the same now what about the subsurface scattering aspect cuz you know the amount of transparency actually varies depending on where your skin is located right you know here on the cheeks is a little bit thicker versus like right over the eyebrow or over the nose it's a little bit thinner but it's definitely an issue here like the tip of his nose like the cartilage where the cartilage ends in your nose you still just have flesh so that very tip of his nose and a little like the line underneath your nose should be like kind of glowing red from the light going through it it's close but it's not quite there there's a lot of it is that you don't have like the redness here and the redness that goes here and like the basics of that they teach you like in art school about painting a human being it's like there's that redness that you need so you have real skin right the arms and the arms are basically in the same spot as the face relative to that light so if you keep playing here tell me in your opinion do the highlights on his face match the highlights on his arms no but his face is closer to the lamp though look at his bottom right forearm in his face yes his face is much more lit it feels like the light source is the lamp is here but it feels like the light source on his face is like more like here and not just that look at the difference in the highlights the edge light there on his face there's light wrap on the bottom of his chin there's like a very pretty strong highlight edge along his entire face but on his bicep there isn't that little white line there's a little bit on his forearm there where his hair on his forearm is catching the light but not on the skin there's a clear bright white line on his chin and there's no clear bright white line on his bicep all of a sudden the lighting itself feels faked and you know what it is hold on Mike I wanted you to react to something else here real quick okay oh it says artist and it's all keyframes tracking Mardin bit busy here desi a curves my reaction is I think this is a really cool shirt Koro digital joggers ooh actually these are very cool I would wear the out of these they've brought back a little bit classic design of a twist now hold oh so I get to keep these yeah sit thank you for it or didn't I don't even have those jogging bread shut up bash brothers was my baby of the year as they say I can't even do it right hold on there we go that's a bash that's a bath [Music] [Applause] and I'm mark so yeah I got the opportunity to co-direct this Netflix special for those who don't know it's about the bash brothers who were two baseball players in the early 90s that I had no idea who they were before getting the opportunity to do this and I also hate baseball so there's that I kind of took it upon myself to really make this as visually interesting as possible for people that you know aren't baseball fans and obviously the rest of the load is carried by Andy Samberg and akiva schaffer being hilarious thanks man yeah I really wanted to do a hypo Liam's video and that was kind of the idea behind this whole thing was just like really like with each song because they just dumped all these songs in my lap or like what should we do and so this one like the energy of like a hype Williams video and I just kind of tried to hit like the kind of sped up likes like filming them with like the song slowed down and then speeding it up and all that good stuff and really this is like filming that hallway scene was the moment it hit me and I was like wow I really get to like dress up my heroes in funny costumes and like make them do what I want and like it was the most surreal thing in the world like that they were all just on board for this such an amazing thing I actually approached Andy Samberg 8 years ago in a sushi restaurant and I told him like just wanna say you're my hero and keep to what you're doing I shook his hand and I'll never tell him about that he still doesn't know to this day that I did bad [Laughter] so these underwater shots of something I kind of want to talk about it's a lot of people like we're kind of fooled and they thought that we actually like shots and stuff underwater I mean really all we did was just blow fans at them and had them lay back on Apple boxes with a green sheet and just shot it super slow-motion and just the the subtle movement in their hair and stuff like that kind of sells it so film and slow motion with a very powerful fan the Huff dream that can kind of like help emulate the underwater look Oh fun fact about that dick shot so he says whip up my dick on the jumbotron and I actually had Peter France buy a CG dick off of I bought a CG dick off of turbosquid and I had him animate like a dick like flopping around the idea was to blur it out and he liked you know he rolled up his sleeves and like it made it work and like made a very realistic way to use soft body physics on rigid bodies rot soft body physics it looks so good that when you watch the shot you're like good did a cave I just really just whip his dick so at the last minute before we turned it into Netflix I like through the black bar on it so you really did just make Peter do that I made Peter maybe day for no reason at all I want to talk about fixing your shortcomings as a director via visual effects the transitional line in the song is me and Hosea got a smash back to IHOP and I got this shot on the day and I never got a shot of the car like pulling up and I just completely spaced it on that I was just in post trying to figure out how to cut these two scenes together and I was like well flying car on explain you never see it again they never talked about it you just they have a flying car I guess and so I made a background plate I like Photoshop the back he'll play it by smashing together like three different shots that we had and then literally just bought a model car off of turbosquid and modified it and then boom it works okay so smash brothers real quick I know it's not the effects but what was it like working with Andy and Akiva it was a dream man it was it was like a combination of like I'm very nervous and I hope I don't mess this up because again he goes like I grew up with these guys like for YouTube kind of like what got me into like doing what I do and the other part was the stress of we have four days to shoot six music videos how do we do that so it was it was truly the most insane shoot I've ever been on there's a dance set where you had me come out to be an extra but there's a moment where I got to talk to Andy Samberg was just me and him back in video village we're just talking about how great of a director you are until he remembers that you he's like I'm a sushi bar a bad guy also I want to mention real quick a lot of ideas for things to react to come from you guys so please leave a comment with a movie TV show whatever it is you'd like us to react to to break it down to tell you how it's made alright let's jump back in you guys already did a video where you mentioned burly brawl right talk about Matrix Reloaded yes the classic Matrix Reloaded scene well lovely choreography yeah and in the video you guys talked about like the good points of it what do you guys think I want to talk about the things that don't work in this scene there is some really really great choreography in the scene there's some great action but then they do some really really bizarre unnatural unnecessary stuff that I just feel like makes the scene goofy in my opinion right here what is that move so weird to me and I feel like it just kind of breaks it this and the shot of him running over the agents heads like yeah it looks weird but I feel like that's the intent for them to make it look awkward not awkward I mean it's it's different I mean this is just a weird directing choice I think Mary Poppins I think it's very cute and then there's that but see where they put the bowling pins getting knocked over and it goes like full cartoon actual like bowling pins sound effect when you're going to be pushing the threshold is what you can do in CG you have to make sure that you're not just like getting so ridiculous that your design choices and choreography choices in the movie itself are going to ruin the park that's what I mean I feel like it breaks it kinda like how you guys talk about in Pacific Rim the difference being Pacific Rim wanted to the camera feels grounded and it feels like you're you know you're getting shots that cameras can feasibly get and that's why the robots feel huge and real also the fact that they slow down moments like this that I feel like the the CG is not good enough to fully slow down I mean the name is specifically the way the cloth moves like the cloths weight changes completely like you time is his jacket yeah like it feels so much more lightweight and the way it's flowing right there does not sell to me at all it works for me personally it doesn't for me and that's because the simulation detail is not high enough for that cloth I'd agree with it look at how many wrinkles are on his right arm there and now look at how you're in there yeah it's all smooth smooth it's like the same thing with surface imperfections when you're rendering like glass or anything reflective you got a head like something to kind of break it up and make it look a little bit more messy so that being so smooth is kind of giving it a weird fake look what you're seeing here is basically the kind of cloth Sims you get in like a modern-day basketball game on like the PlayStation 4 so Mike you're like I could tell those weren't CG human beings each one of those heads are 100% CG and they look perfect they do deed the battle for middle-earth would have gone so much better if they had this many L Ron's around Hugo Weaving it had to be like everyone's Tamar like the one guy that comes in and punches and his face happens to like be facing the camera and each one of those sequences it's like five stuntmen then Hugo Weaving and like five more stun minute then Hugo Weaving comes running in well that cut wait when he grabs his shoulder go back go back enhance oh that guy on the left this something on the sides there's you bleeding that guy right there yeah it's amazing how much you don't see this oh yeah actually all of this is inconsequential like you're like really mad I thought they were all replaced but watching here they didn't replace a lot of these faces they just left him as is because you can't tell I didn't know that oh that is not him he's a bad guy oh that like that guy the entire scene they don't replace his face look at it just chilling the entire scene he's just standing there like ready to punch his on the ground he's bummed when I get my chance I'm gonna punch him I like this game that's enough Bravo still have an incredible technical achievement was still amazing much respect respect still gives to us Mike diva thank you for coming out thank you so much for having me follow him on Instagram yes Mike diva at Mike diva truly an honor to be here with you guys let me just disappear real quick just kidding about three new effects at least put like a smoke plumes yes subscribe wow I can't believe I got my very own corridor digital merch now in stores right corner Digital deaths store its link in the description below buying merch is a great way to help support the show and support what we do here at corridor and you know we actually have free returns so if for some reason you don't like it it's absolutely no sweat off your back is that the saying no sweat off your back yeah it's not sweat off your back court or digital it's no sweat off your back yeah

Channel: undefined

Views: 3,201,375

Rating: 4.8664813 out of 5

Keywords: VFX Artists, React, CGI, special effects, shot breakdown, hollywood, movies, lil nas x, panini, mike diva, Tron legacy, The Matrix Reloaded, the lonely island, andy samberg, bash brothers

Id: IoRV6UBFSRM

Length: 19min 17sec (1157 seconds)

Published: Sat Nov 09 2019

Reddit Comments

[u/principe_olbaid]

Finally.