VFX Artists React to Bad & Great CGi 22

this is one of the best sequences ever committed to film in my opinion this shot here I love but at the same time there's so many things wrong with it you know a solution I dunno the solution I'm gonna let you guys guess hey guys what's up welcome back to another episode of visual effects artist react today we are joined by Allen McKay ever since starting the show I've had a chance to meet the guys that make the tutorials that I learn from when doing visual effects so back in the day when I was trying to learn how to do explosions and fire and destruction it was Allen's tutorials that got me into it now Allen here it has a huge body of work he's worked on a ton of amazing things I can't wait to hear what you think about some of the stuff that we have planned yeah I can't wait of course what the Super Bowl comes lots of great commercials but there's one in particular that I really enjoyed starring my favorite actor Jason Momoa he's your favorite actor I don't know why I said that I like him a lot I don't know if he's my favorite actor he seems like the most chill actor ever I feel like any actor that's also a bodybuilder is usually a pretty down-to-earth person totally except in this video he's not exactly a body that's true totally comfortable in my own skin you know I'm saying I love how it just comes out of nowhere though just like just casually pulling off arms it looks so weird yeah it does kind of have a little bit of that uncanny look a little bit at Mission Impossible face whole thing going on so how do you guys think that they pulled this off because obviously he's a he's a rip dude do you think they just did the thing they did for Captain America and what was that I mean is everything from like warping the body to be skinny to you know filming another dude and doing a head replacement so that would be the complicated answer if you've got millions of dollars to throw at a Marvel movie but it's a Superbowl commercial which also has millions of dollars thrown at it but what they actually did here wait wait you know the solution I do know the solution I'm gonna let you guys guess I Alan you're the master let's test your knowledge you know here's the interesting thing about CGI is that there are gonna be always different ways you can go about it so yeah I would say it's a combination of head replacement as well as 3d arms and then doing some warping everything else in between no IQ that I noticed that can possibly have indicators how they do it is once he takes off the wig he shakes his head and we shakes his head his elbows don't twist with them that's usually a sign that the head is added separately yeah is it complete yeah yeah so in real life if I go like this like it's almost impossible not to have my shoulders go like this you guys are right it's a complete body double there's a super skinny dude so he's wearing the same clothes he's got the same tattoos but it's just a head replacement on top of him I think they actually go through passes where Jason Momoa actually like does the action and then the body double does the action and then it's just like clever compositing so speaking of Super Bowl commercials you also worked on a Super Bowl commercial it was God of War that's right definitely has like a 300 vibe to it yeah totally is this is the background reel yeah that was all shot in Chatsworth Hills when she starts running up the hill that was all shot in green screen so we're at a soundstage in Hollywood there's a bloody map painting a lot of reference photography so that there was all shot in green screen so I love this because it was this story of like he's going off the war for me I still such a beautiful kind of symbolic story that's being told without new words this shot here I love but at the same time like there's so many things wrong with it that I felt there's a few of us there's like way too prominent there are more kind of background elements and they're sitting on top of everything I just kind of I'm always just looking at the dust and it's like I can't it's a little like low-res you heard - like how define that the ashes are we had a 3d model tracks of her face there to match the whole thing and then you're doing texture maps the tricky policy was the hair yeah just looking at that so you have hair solidify that was a total cheat where you're just creating a road over the hair and you just like dropping it down and blending it so the total cheat but it worked how many times do you end up redoing an effect shot originally if it's a commercial it might be the agency or the director but then finally the actual company hiring them they have notes on it as well or if it's a studio you're gonna have studio notes which is the exec who typically doesn't actually work in this industry like they're more business side of things like Superman Returns at one point they're like wouldn't be cool Superman lost his cape and he he I can't fly around for half the movie and he's gotta stay on the ground that was a studio note but they understand that Superman doesn't mean escape the fly right this is where gets fragile because you can't argue with the studio they're the money people so it's like let me educate you really nicely about how Superman works is like the Cape is not part of the whole flying thing even to this day is still one of the things I'm most proud of just because I put my hard soul into it and everyone else did and yeah it's just it turned out great okay this is one of the best sequences ever committed to film in my opinion oh that's that's a high statement I'm serious the scene manages to take something that would have taken place in like five seconds and have it be like a two-minute sequence what happened in London final destination was the visual effects supervisor showed the director a physically accurate cm of these giant logs falling off the trunk and the director was like well that's boring I want them to be bouncing high in the air I wanted to be really violent and scary but lots don't do that so that was it like establishing okay so what you want isn't real you want hyper real you want a Hollywood this shot here originally need a servant thud and fell on the ground yeah they're very bouncy trees now that you pointed exactly literally the log bounces higher than from the platform at fill often yeah they're like rubber giant bouncy loaves like that way this was all done was 3dsmax it's kind of cool because like all those tools really accessible this is more like once you get the system set up you can just do what you want and it automatically kind of reciprocate and does the behavior just hasn't touched his brakes at all it's like screw it I mean I got the new Tesla garbage truck the funny thing is like I'll do a note that they want and then I'll do one that I think is real and then I'll do a ridiculous version which would be like an explosion that's like really over the top and the whole point is like I'll do the silly dumb ones they're like well that's stupid and that way we could say okay well here's your version here's my one and here's the stupid one so we're gonna work within this this range the downside is that every single time I put the stupid over-the-top explosion or whatever would be he's like that's it I want that I did that on purpose that way you say that was dumb yes I do not like that I watched your home alone Irene and maybe think of like that that's what they should have been doing with this stuff is it's pretty much the same thing it's like final destination with Macaulay Culkin yeah last time we asked for subscriptions 40% of the people that watch our videos weren't subscribed guess what that number is at now 45.7% you're correct Ren that's a very good guess we're at forty five point seven percent people that are not subscribed so somehow the number of people not subscribed went up please consider subscribing if you enjoy these videos that helps us out thank you so much don't make it 48.2% Oh I personally feel like the the dynamics of their playing that it's cool but I'd rather see a crumple and tear a pot right there it's very much like it kind of breaks into the cabins it seems that very much so intentional so you could see the entirety of the plane I don't think a wing would actually break like that would probably snap off before I would just like crumble away that was actually pretty sweet looking but the actual like nuclear bomb thing kind of looked uh domestic it's pretty much because they're hitting a button you got gas come out and then the gas converts to the fire based on the temperature and it rates its curl and because that's just the kind of perfect mushroom and it's not much else going in usually what you'd want to do is break it up and add a little more chaos to it maybe have multiple Sims you can have levels of detail but it's also to do with how the fire converts into smoke it's like it is gradient and when you mentioned the gradient the smoke you can really see here all the fire is one color across the entire thing and then as the fire burns out the smoke itself turns orange right there yep it's not it's not going it's not fire emitting color it's just the smoke itself is now orange and then it's a dark red and then it's a brown and it's a black I think that's what I was seeing and said it looked like plastic it kind of has like a different material quality now at that specific point if fire is a lifeless so obviously it's gonna illuminate everything and even if you look at the fire down the bottom right everything's wet so should be really reflective my under saying as a plane would actually be a much bigger explosion if it had fuel on it and on top of that is a giant light source so everything around it would be illuminated by the fire like almost a daylight for a moment I think there's a perfect shot to describe what you're talking about us from the James Bond film where like the whole field is on fire and they had a bunch of LED lights and then they just copped out the LED lights and put fire and but you get that illumination of absolutely so it's like you have all of this lighting and that's our actual real lighting filmed on set and so you're getting all of that illumination through the air and fog and illuminating the ground that edge light all the actual stuff that you want to keep in the scene that you can't simulate usually what why people look at a shot and they're like oh that looks fake is because there's this big disconnect between the lighting on the actors and the environment around them because they're shot separately or whatever it might be and that's become such a big thing now where they will use LEDs we can set out to be fire or can actually pull colors from the plate that was shot on so reproject to their faces so that allows everything to be integrated a lot more hey if you have a show or an affect specifically that you would like us to look at leave a comment down below not only do you like reacting to good effects we actually like looking at bad effects because it's really really educational and put them in the comments below and we will use those to inspire our next VFX artists react wait so does the world end at the end of this movie yeah spoiler alert everybody talk to do what fire is just phasing through the ground so one thing you'll notice about this is that none of the buildings actually being destroyed and this is partially because Houdini and Maya couldn't do it at the time it's pretty much just smoke and fire wrapping around everything rather than actually getting destroyed it almost looks like the buildings are converting to fires from Devon equals mc-squared just mass going to energy it's interesting like compared to the plane crash like you you actually see the licks and tendrils of flame within the smoke it's not just the smoke being a gradient from yellow to black so you've kind of gained this reputation in the industry for doing like these disintegration ash techniques and so because of that you kept getting those jobs yeah but what was the job that started it all I feel like it was blade there's some stuff I'd done before that but blade kind of ended up being the thing that directors would reference well there it is yep there it is it needs emotion the dynamics yeah there's like all these different elements that go into us is the fire that spreads over everything there's the smoke there's the dynamics of the actual skeleton underneath impacts box embers that are in the air the layers me personally I would have probably gone about this a little bit differently in hindsight like automated a lot of stuff we just had like eight really good people in a room so we're all just kind of like jumping on everything and doing it all together as his brute force it killed like 120 vampires is nuts I like how he cleans off his blade you know it's already like 50 Wallace Lee's like shiny it's like current probably made it dirtier by wiping it on his jacket there's this a shot here or he takes everyone out and there's like one guy who actually doesn't kill in the ground are there yeah and so he just died we didn't even notice until I got week or two before delivery and it's just like what about that guy that's so crazy it's weird I could be so like detail-oriented on these things and then just like it's something almost like so big that you just miss it yeah cuz you're so focused on everything else going on one thing we found was in every single time they died like there was something missing and we couldn't put our finger on what it was and so what would happen is like when he'd shoot someone or stab them I started having these like exit trails of spocs which seems like a simple thing but it just did added everything at me the whole thing makes sense visually yeah it's just that little icing on the cake that made it feel like instead of it just being in effect it made sense like this cause and effect going on with it blade is arguably the first good comic book movie the first one was my very first blade yeah and played two directed by Guillermo de Toro oh man yeah that was so good Alan so you actually do a whole like mentorship program like a year-long thing we actually like help artists get into the industry I've launched like a one-year mentorship who have been helping artists break in the film industry as well as others we ought to get like their dream jobs a lot of people go to I am wet a lot of other big studios we'll have a link in our description thank you so much for joining us on the show really appreciate it loved all your insights it's really cool to meet the guy that helped me learn how to do explosions and destruction and all that kind of stuff this has been great guys so thank you so much alright guys thank you so much for watching please consider subscribing if you haven't already and of course we love your comments telling us what we should look at take it all so long I'm gonna put a nerf blaster on a trunk I want to throw minor facts and hit your drone out of the air challenge accepted

Channel: Corridor Crew

Views: 3,389,041

Rating: 4.9572825 out of 5

Keywords: vfx artists react, react, cgi, shot breakdown, visual effects, hollywood, behind the scenes, god of war, kratos, blade, blade 2, jason momoa, superbowl commercial

Id: 0TwGKcrtGmQ

Length: 13min 13sec (793 seconds)

Published: Sat Mar 14 2020