VFX Artists React to Bad & Great CGi 33

oh it's all green screen really this is all in camera done practically it's an old photography trick what's up everyone we are here today to bring you a new visual effects episode we got the original three back on the couch again today it's been a little while since the three of us were together and i'm happy to be here with you guys we're to be looking at some cool effects some wonky effects some awful physics so flip that setting to 4k and hit the pause button to let it buffer because we're about to jump in let's get doomed all right you guys want a surprise wait what movie is this this is charlie's angel's full throttle it's a fun bad movie i've spotted hammers i'm on them red bike red helmet check out my beach bod this guy doesn't care wait a minute i know that guy that's that's the dude from 300 he's the king leonidas no not king no the the god king xerxes xerxes that's xerxes what no hold on that's totally xerxes hold on hold on hold on hold on hold on wait a minute legit i'm i'm looking it up right now put a nose ring on him and connect it to his earlobe and then oh that's definitely xerxes how did you recognize him this is what he looks like he doesn't look like king xerxes [Music] they're trying to like blend between the actual shot and the green screen shot [Music] [Laughter] all right the sky right the sky looks really weird it's like there's this weird like neon edges to it and stuff chances are it was a really hazy day especially they're like filming around los angeles here so even if this guy's being exposed well they're using good cameras it's still gonna kind of look white and they want that crisp blue vibrant color basically what they're doing here is in color grading they are basically just eye dropping the really bright slightly blue object which is the sky getting a color key out of it and cranking that saturation and the tint to be as blue as possible but the thing is you're basically pulling a color key you're basically doing like a blue screen using the sky and you can see how rough the edges are of that quote unquote blue screen with that white fringing you can see this in some of our videos when i color grade them and i try to pull the sky down if you look closely for some older videos you'll see that fringing wait hold on hold on what did i do what did i just miss what did i just miss wow all right so what's gonna happen to xerxes oh it just gets so ridiculous what did you get like this [Music] [Applause] he's dead it's shia what wow wow what's going on clint you have you have something you want to show us right all right so we just checked out a groundbreaking movie wait what let's take it all the way back let's go all the way back to 2001 uh the stanley kubrick 2001. let's go all the way back and see what kind of stuff he was getting into in 1968 i think this is the thing that has always blown me away most about this movie is the fact that this movie came out a year before they landed on the moon it's mind-blowing dude yeah look at that floating pin this is not an element 3d andrew kramer vfx element here this is actually a pen floating in 3d space and then she grabs it it's there like there's no visual effects going on here you guys actually recreated this effect in one of your half-life videos right the gravity gun whereas we've renamed it recently half-life alex the movie it's the same way that stanley kubrick did it right the reason we had to use the same technique is because it's a glass bottle so we can't really put it on a green screen and it has liquid in it back then especially like fluid simulations weren't that easy on a home computer yeah so we want to have realistic looking fluid in a glass object so we can't do it with cg so the way we did it is the same way kubrick did it back in 1968 basically you just take a giant sheet of glass or plexiglas something that is perfectly see-through and clear and you glue it very lightly to that glass so you can't see any of the glass you can't even see the glue you have two people holding the glass floating in front of the lens but you got to make sure that glass is clean like super clean this is a pretty big sheet of glass here and it's only getting larger as we zoom out oh my god you're right i didn't even think about that and that pen is not close to the lens yeah that's huge that's a huge piece of glass it has to be yeah very well done just the tiny little trick visual trick that they did here on 2001 and we're just getting started [Music] you guys saw inception right you remember the rotating hallway they basically built a rotating set for the space station and it's such an incredible effect how is the k are you wait are you saying the camera is static right here in that shot yeah he's following him yeah it's mounted to the center point now there the camera is straight up mounted to the frame of the whole building yes so another thing that this movie doesn't account for at all with this whole like rotating thing is that yes technically you would be stuck to the ground with gravity but it would have to be spinning so fast that that small radius that you would feel sick in there because the weight difference between your toes and your head would be different you'd be disoriented i think is the coriolis effect why are you looking at us i do know this though i went on that one space ride at epcot and that's basically this but just maxed out now have you tried standing off of the wall while it's doing that [Music] so guys honestly if you've ever you know ran around a rotunda like this in outer space let me know what you thought you felt from your inner ear and how it affected you uh on your last space travel yeah let's talk about the final moment of this movie the the traveling through time the warp speed effect [Music] all the the crazy like light effects going on there is done in camera right yes all in camera no visual effects no andrew kramer this is all in camera done practically basically what you're doing is it's an old photography trick basically they set up a giant black cloth and they cut a slit through the center they had the camera on a dolly and they would dolly up to that slit behind that slit behind that piece of cloth with the cut through it there was just a bunch of colorful imagery that they would slide from left to right and when the camera stays open the shutter speed stays open for a long amount of time as the camera is dollying in you're getting this weird warpy effect it took a five minute exposure per frame twice because you had to do the left side and then the right per frame on that one frame so it's ten minutes to get one frame and there's 24 frames per second so it's like 120 minutes it was like two hours per second of this sequence two hours of time to create one second of footage a month-long process to make oh at least it was probably several months at the end there's a moment where basically you start to see these nebulas and start to expand outwards and it looks like you know galaxies are being formed kubrick was experimenting with the idea of dropping ink into his coffee as a test he shot super macro footage of the ink dripping into his coffee and you get something very very similar to this and it's completely random when you drop it in you do one drop two drop and it just expands and opens up and you film it in slow mo this is like that's exactly what gavin from the slow-mo guys has done like several times really he's like dropping ink droplets into water and just seeing it like billow out in slow-mo douglas trouble said he worked on this movie for two and a half years there's a whole bunch more to talk about in 2001 so we'll definitely touch on it in the future so subscribe if you guys aren't already hit the bell notification don't miss a single thing because we got a lot of stuff for you guys wow that's awesome oh yeah where's his head where would his real head be yeah right right what dude because of the way his head lands in real life it was like a bit of a forced perspective thing he's actually landing way to the left of the urinal there but in the final scene they actually stretched it up to line it up better so that whole side wall there it's not as it was originally filmed they make it look like he's colliding with the toilet when reality in the actual physical thing he's ahead of it it's the same trick behind lieutenant dan's legs when he's spinning around and they have that table in the way so the subtle demonstrations of like oh his legs are short he here they are passing through something that if it was just an actor with real legs they would hit the thing so with the wall when his neck lands up right against the wall it's the same subtle like no we're gonna really sell that somehow we've removed that object from space so look at the blood coming out of that neck there look at that neck look at that neck dude look at that next nap so that shot there was just like the head and the bloods pouring out of the neck i at first assumed it was just like a regular fluid simulation but they actually filmed that practically so cool yeah actual real liquid coming out of this like stump that they made and they just tracked it onto uh his real neck they didn't even have to put like a green screen head on him that's ingenious because the lighting matches the fluids like the fluid dynamics are perfect like to do a fluid simulation like that be kind of a pain in the butt [Music] oh that's so jackie chan dude i'm pretty sure this was brad allen brad allen was jackie chan's right-hand man on the jackie chan stunned team and then went on to do kingsman and what's this movie called [Music] dude people lost it in theaters when that happened it's all green screen really they actually filmed it practically against the green screen and come them into the shot so it's two different elements merged together to make them look like one person it's just good tracking clever compositing that mirror reflection someone had to film the back side of him kind of do something like that and then comp that onto the mirror that's like a subtle work that it would look really weird if it wasn't there that was awesome i i mean edgar wright is just a genius when it comes to combining practical and visual and in storytelling in every way i think he's a genius i think he's a master director like he knows how to tell a story using really efficient storytelling methods we need groups we need more groups all right okay we're gonna be looking at gi joe rise of the cobra specifically this ending sequence there's this whole like military base under the arctic ice the bad guy layer and i'm not really criticizing the effects as much as the decision processes that went into making this sequence because just watch it just watch it the ice is falling down they broke it and some of the ice lost its buoyancy properties it fell down to sink to the bottom of the ocean where we store all of our ice on the bottom of the ocean i'm sure all of the visual effects artists working on this were like but that's not how ice works it's like too late we shot it make it happen also notice how all of the explosions are acting as if they're in the atmosphere rather than underwater yeah there's smoke oh my god smoke doesn't move that way yeah like the way it's plumbing outwards is it would have to require yeah it turns into bubbles it's underwater so yeah this this is uh not bad visual effects this is bad writing the reason why i wanted to bring this up is because all of you visual effects artists who worked on this movie i apologize that you had to go through that thank you for your service [Music] guys we have been working for months on tactical three loads it's the third one instead of us reacting to things why don't you go over there and you react to it leave a comment telling us what you think it's freaking sweet we spent all this time doing vfx on it go check it out it's live right now on the corridor youtube channel if you would like to see these episodes early consider subscribing to our website corridor digital.com we got all these episodes and cool exclusive shows plus the vlogs with no ads higher quality than youtube and a whole bunch of other great stuff go check it out if you haven't corridordigital.com yeah pp

Channel: Corridor Crew

Views: 1,945,487

Rating: 4.9685507 out of 5

Keywords: vfx artists, VFX, CGI, visual effects, shot breakdown, behind the scenes, movies, hollywood, Charlie's Angels, Cameron Diaz, Lucy Liu, GI Joe, The Rise of Cobra, 2001, 2001: A Space Odyssey, Hal 9000, Stargate, The World's End, Edgar Wright

Id: Fve5UfKO3U0

Length: 13min 31sec (811 seconds)

Published: Sat Sep 12 2020