VFX Artists React to Bad & Great CGi 32

i have no idea what's going on what is going on there was a technology that was better than green screen this movie came out 15 years ago those jets look so nice and shiny these are bad visual effects yeah those are you should feel bad about them i'm so confused thanks to lgtv for sponsoring this video all the clips are watching today are being viewed on an lg nano cell tv so stick around to the end to learn about what makes this tv special hey welcome back to another episode of visual effects artists react we've had a bunch of stunt friends in here for the past couple weeks hey no more stunt man we want the computer man back yeah that's right that's what i was saying too the last few weeks but we're back with some visual effects artists react today we got some pretty fascinating stuff one in particular is pretty nuts because did you guys know that there was a technology that was arguably better than green screen that was invented back in 1950 so if you want to see how that works and more stay tuned all right let's jump in commence oh yes oh jesus christ all right so stephen king wrote a series of short stories the langoliers was one of them the premise is this they're flying an airplane and it flies through a rip in space what they proceed to land at an airport in the alternate reality because they've accidentally traveled to a parallel dimension the langoliers are coming there's this parallel dimensional alien race called the langoliers whose job it is to dispose of these old dimensions and they must get back to theirs before they get consumed wait the langeliers are the meatballs yes dude mama freaking mia oh my god daddy no except go away please make them go away oh no don't need me this movie's three hours long i can't act for this long get out of here whoa that was cool okay i don't care what either of you say them crunching through the ground like that i liked that that was sweet it leaves behind like where the two pieces were together like there's actually some some good detail there all i have to say about the meatballs is this there's some very very basic things they could have done to make them look better in the year 1995 the year 1995 well like what making sure the image quality of your cg isn't like light years ahead of the image quality of your video they probably shot this in like 16 millimeter films you know it's not the highest res it's not super crisp per se and you can really see like the issue there with like how crisp the cg is and how dark the shadows are i think two things first off horrible animation i see keyframes i don't see like physics so to speak that's the first huge problem the second one is we have a scene with a bunch of interdimensional monsters like where is the scariest place to shoot that what's the scariest setting and let's do bright overcast daylight on a completely beige environment and it's like well you're screwed there's nothing to obscure the creatures in the environment the lighting doesn't play towards the poor rendering it's poor filmmaking going into it what would have made this better is generally the people shooting the effects understanding the process that they're shooting shots that can help the effects you know yeah but how many people really even understood any of this 25 years ago this came out just a couple years after jurassic park like the number of people who probably knew how to do this better are very small and they probably just weren't able to afford them for this piece because they probably had a tiny budget to begin with i'm just saying cut an hour off the movie and use the thousands and thousands of dollars that would have taken the film that extra hour this is back in the day when it was only tv and at a certain point you just need to fill time i think that's really what this was yeah they were just filling time they're like what of our thousands of stephen king properties is worth making today so i was recently reminded about a movie called stealth by this website called beforesandafters.com if you want to dive more into how visual effects and stuff like that work that's a fantastic resource and website to check out so the movie stealth basically is around these three super pro fighter pilots they have these really cool like navy stealth jets that are really fast and then they have to contend with an ai who's going to trick their gerbs the movie itself isn't very good but the effects are top class from digital domain they're very excellently done they pioneered a whole bunch of stuff for this movie and it really shows this looks great this is right when like physically based rendering starting to become a thing it's like not even quite there yet it's like just artists at the top of the game understanding the light yeah this movie came out 15 years ago those jets look so nice and shiny and all of this is completely computer generated there are no photographic plates here the background is all computer generated back then like it was very very very hard to do clouds what do you do for clouds it's like usually you're sitting there like all right i'll take a 2d image make a background it's like well i gotta move through them it's like well are you just gonna put a bunch of cards in the scene like little 2d sprites this was a very unique problem for the vfx team here because there are tons of clouds rendered everywhere for them to go through they ended up having to generate we're talking dozens and dozens of square miles worth of just clouds and that meant a lot and lot of data we're talking hundreds of gigabytes worth of data and they had to come up with a special workflow just to process all the clouds we're talking like low resolution clouds off in the distant background and then medium range clouds that they're actually flying through those were the high res ones and that combined with you know the really high resolution planes flying through them and the camera flying through at really high speeds all of that to just give a sense of speed going through everything but the thing that was surprising to me is the fact that the cockpits are glass the helmet visors are glass and how do you film glass without having the reflections of the crew of the camera appear in the shot and the answer is you just do it digitally and so there's a moment when django unchained here he actually like knocks on his helmet but he's just miming it he's just kind of like and you can kind of see his floaty hand but they add the sound effect of like that's how you do it i to do a quick shout out we're talking about stealth to the best explosion ever committed to film hell yeah okay that is pretty sweet so those people are actually there and those trucks are actually like flipping amazing yeah christian just muttered jesus under his breath back there so amazing and like the fake cars if you look closely you can see it's just like canvas over uh pipe frames this is magic this is something special right here so stealth was actually recommended to me in a comment and you're totally right we had to talk about it thank you for that comment if you have other clips that you think we should watch leave a comment down below what's happening to me wait is this the old twin peaks or the new twin no it's the old as we can see it's the elderly twin peaks oh getting tiny wait he's shrinking whoa whoa wait what just a jump cut to his head turning into black smoke okay is he a snitch did he turn into the snitch ooh that tracking or whatever was going on there what the [ __ ] what that [Music] i'm so confused it feels like very authentic to like the visual effects of the time when the series originally came out do you feel like those visual effects were good or bad the thing is i make an argument here that david lynch didn't want any realism whatsoever he just won the collagi basic cutout element feeling style of the effect so it's just imagery it just cuts to it it just moves it just does its thing no it these are bad visual effects yeah those are you feel bad about them the hand shrinking i don't know how they did that it kind of looked like it was a practical thing it kind of looked like they were shrinking it but then the ring fell off see that looks very good and i have no idea what's going on there but then his head literally just pops away and then this like golden orb is just moving around with no motion blur and really hard sharp keyframes and the the highlight is just as bright on it when it's in the smoke versus when it's out yeah and then this thing is literally just the final image here but it's stretched vertically so you're having like all these stretch stretched pixels and then it pops to a different element as it starts to evolve and move i have no idea what's going on what is going on every time i think it gets it's done being ridiculous it gets more ridiculous and confusing and maybe that's the point did david lynch actually do this shot i i would not be surprised if david lynch did those effects himself it's more abstract and subjective i guess but now i feel like i'm just making excuses i mean we all kind of are this is like an art gallery by the way where everyone's right every every one of these opinions is 100 correct i'm all down for like weird janky crazy visual stuff but like you know as my art teacher said when i submitted a half-assed drawing if you're intentionally trying to do something that doesn't look good you need to make sure it's really intentional so it doesn't feel like a mistake i mean if it's like if the goal is to go hey look at this weird thing and you're like this is we this it's weird he did it he got us what's up guys today's opposite day hit unsubscribe dislike the video flag others comments i know what you're not doing right now [Music] wait a second this movie was made before computers this these are visual effects visual effects are designed with pcs that's not true the visual and visual effects means that you're using optical printers sorry i'm distracted by the fact that this dude has like pants with the crotch down in his ankles these way that is time for joggers man is the background the cartoon as well was it painted on a wall it looks like it might be a mural and they're on a little sound stage that background was not there and they thought okay in star wars you can tell when they're on a fake background but this is from 1964 and you can't tell that background was literally filmed take a look at mary poppins hat what's special about that hat it's transparent it's transparent transparent if somebody hires me to do vfx supervision and they're like all right we're gonna have this person from a green screen they have all this transparent like lace i'd be like no don't do it this is a 1964. how do you get transparency without a computer alright so like okay star wars you make black and white mats on a piece of film and then you use the white layer to basically expose the light onto the part of the image that you want to keep we talked a lot about this in our episode talking about the original star wars movies because they did all of these effects using just optical separation of light and stuff like that if you want to find out more information check out that episode so in star wars they filmed their shifts on a blue screen but the thing about that niko is that you're getting a very distinct black or white mat there's no transparency in between yes 100 also nobody can wear blue in this scene he has a blue tie he has blue socks and the ground is green what color could they use every color is in this frame that m effort is sprinkling salt he's sprinkling salt they're using sodium vapor lights and sodium vapor lights emit light specifically on only one part of the electromagnetic spectrum so they're very strict that's right yeah okay this is just sodium vapor wash on the background and they have uh they have a technique color camera so back in the day technicolor cameras ran three strips of film one strip of black and white filmed red one stripper black and white film for green and one strip of black and white film blue you can combine that and get colors they took one of those cameras they modified it to only have two strips and they have a prism and the prism splits off the wavelength of sodium vapor light to one film roll and then everything else all the rest of the light goes to another film roll so in the moment when they're rolling the shot there's two pieces of film one that's getting the shot and one that's getting a perfect black and white mask with transparency of the background because it's only exposing to a certain wavelength so it's the perfect split because the light is still physically being split and like selected that's so complicated it is it's basically a perfect map before you even post-process it it seems too good to be true why are we not still using this technology today yeah really what gives so the reason is they basically invented this one-off magical device like it's the closest thing you could get to magic because they were never able to replicate the prisons so you've seen the camera the prism the little heart of the camera is a one-of-a-kind piece it's like a lifesaver they have a one-of-a-kind crystal gem in the middle of this camera right here wouldn't mean one one you just can't there's no such thing as just making one of something how can we not recreate this we're definitely dealing with off-world technology look if anyone knows where that crystal power is and has a map basically our next episode will be tracking it down and shooting something with it all right so after filming this episode there's one thing i've been thinking about this entire time looking at this tv and that's the fact that if you play smash bros my character is going to be about as big as me so let's go get a gaming real quick because i've been itching to do that here let me get first place real quick so big thanks to lg for sponsoring this episode this is the new lg nano cell this is an 86 inch television it is a work of art so i'm gonna tell you all about what makes this tv special while i kick all their butts now this tv offers something called pure color technology which uses lg's nano cell filters to give you the most vibrant color possible also another great thing about this tv is they offer 4k up to 86 inches and 8k up to 75 inches that's right you can get your own 8k television on top of that they have a bunch of great gaming modes we make use of all the time here in the office there's a low latency one millisecond of leg only mode for the tv which is awesome everything i could ever want in tv plus they have freesync variable refresh rate all that good stuff and of course a giant size that your smash character is at least as big as an action figure so excuse me for a second here while i win this game so as you can see lg delivers superior gaming technology and immersive experience click the link in the description below and click the where to buy button to see retail price once again today thanks to lg for sponsoring this series and you know what i personally actually love these televisions i own one myself they're great check them out did that just happen did that just happen well it's always a good time sitting down with buddies and looking at some cool vfx next week we have a swordmaster coming in to show us all the cool things about sword choreography on film that's gonna be super cool so tune in for that episode

Channel: Corridor Crew

Views: 2,047,625

Rating: 4.8325033 out of 5

Keywords: vfx artists, VFX, CGI, visual effects, shot breakdown, behind the scenes, movies, hollywood, Jamie Foxx, Stephen King, Mary Poppins, Disney, Aliens, Twin Peaks, David Lynch, Gaming TV, New TV, Best TV, 4K TV, big TV, Large TV, LG NanoCell, NanoCell TV, pure colors, 86NANO90

Id: 26b7uqZcXAY

Length: 15min 23sec (923 seconds)

Published: Sat Aug 08 2020

Reddit Comments

[u/ticketstubs1]

Very irritating.

[u/amuse-buscemi]

Just watched this too. They definitely needed more information to understand the special effects.

[u/HermioneGunthersnuff]

Kind of reminds me of when they included a segment of S3 on Gogglebox. "I DON'T UNDERSTAND WHAT I'M WATCHING THEREFORE IT'S TERRIBLE".

Although to be fair I work in VFX and this was kind of my first reaction as well so I'm just being a big bloody hypocrite. It grew on me as it went.

[u/HooptyDooDooMeister]

I was hoping to see this had more upvotes. Then again, after watching it, I'm kinda glad it didn't. These guys do great work... but this segment really shows the worst of their personalities.

The guy who's actually the best at reviewing:

I'll make the argument that David Lynch didn't want any realism whatsoever. He just wanted the collage-y basic cut-out element feeling/style of the effect...

The smug guy:

No. Those effects are bad, and you should feel bad about them.

The guy who's over-the-top at everything

YEAH, THOSE ARE STRAIGHT-UP BAD!

I feel sorry for the first guy, because he gets filmmaking on Lynch's level and is a little embarrassed like it was his idea. The other two seem like they would do good to stretch or challenge their palates a little more. To their credit, they do start to come around but then kinda back off.