VFX Artists React to Bad & Great CGi 46

she went through okay hold up how many oopsies is this out of 10 oopsies one of the biggest generational leaps in gaming just happened unreal engine 5 just dropped there's one specific shot that is like an actual like huh big thanks to bessie shoes for sponsoring today's episode at the end of this video i'll tell you how you can get 25 off your own pair of vessy shoes hey everybody welcome back to another episode of vfx artist react we have so many cool clips to show you today and something that's not even from a movie but still it's going to redefine everything about filmmaking all right crack your budweisers because it's time to react classic saturday morning budweiser is just me just me we had to repaint this budweiser here so it looks like a lacroix but really you're the best we're the beautiful we're the only the host purgatory guardians [Laughter] so real quick no computers all right think about how these shots are done without computers [Applause] the animation's really good on these ghosts whoa i saw some like skew going on on that ghost [Music] whoa wait hold up yeah she went through okay hold up that was a really tricky shot isn't it it's one thing to have a person like be dangling from their feet and going across the room but she went through a doorway and the doors closed after her there's a couple pretty pretty cool magic tricks happening here and i want to throw two of them at you guys and see if you guys can guess how they're done so first off we have the ghost the first part is pretty straightforward you're like oh they probably filmed on a green screen technically it's a blue screen those are costumes full sized costumes that a human being is wearing say these animatronic heads so you don't have a computer how do you get it to stretch and warp right it's like you just take your piece of film and stretch and warp your piece of film okay i'm gonna make a guess it's some sort of re-exposing a projection that they're adding real life skew to like if you were to project something onto a wall and then like continue to project it upwards it's gonna like skew outwards a bit that's a close guess it's actually a little more clever than that more clever notice how his legs go to a point like you're not that's not skew that's not just perspective skew they're actually warping the image oh that's like a liquid type thing oh i see what you're saying i didn't even notice that's weird oh how do you do that optically so here's how they did it they took their dude on a blue screen or whatever punch out the blue screen so you just have your background that's just black and they put this on a projection screen and then they set up a mylar sheet mylar is like the uh those like balloons those like metallica yeah like a space blanket yeah or basically so they actually thermally reflective the literally grab somewhere over there oh yeah mylar mylar so they had this sheet it was a little bit thicker than this it wasn't just like fabric and so they have the the projection i don't know if you can see like my hands here so they have the projection here and then the reflection of the projection on the mylar and then they had computer controlled motion controlled rods that would push on the mylar to disrupt and distort the reflection and they could program it so you get squashes and stretches so kind of like a house of mirrors type deal exactly like a house on your side deal it's like the actual physical version of doing a mesh distortion yeah like these days you just click and drag some pixels but back then they had to prod and poke photons yeah so the final images we're seeing here were captured on reflective plastic yes oh my god the second big magic trick in the scene the prosecutor being dragged out of the courtroom by her leg by a ghost okay there's something i definitely noticed right away there's a black outline around her leg that looks like a track matte artifact so she's not in the scene at all are you sure because look at the hands you were doing so well rent wait okay okay no no you're right lighting all matches up so that leads me to believe she is there but she's being cut out somehow the thing is is that if they're going to do this wire stunt the top of the wall can't really be there because they need to be able to drag her through this situation see the black lines above the sconces i think that's where the set ends it's basically a real wall and a false wall see yeah even the lighting is a little bit off what they ended up doing here is the little black line there that's where the real footage from that shot ends and then above that is a little miniature has been photographed and stuck back onto the footage to cover up the area where the wire went through i mean they did a really good job matching that angle yeah they not only like lined up the perspective perfectly they lined up the exposure perfectly and they timed the strobe lights to link together it's not perfect you can actually frame by frame you can see where the strobes don't quite line up perfectly between but when you watch it in motion it's not even an issue yeah having the ghost and all the electricity really helps blend it the funny thing is in other shots where you see that door the miniature is actually different than the actual on location shot it's close though that's pretty close when you watch these older visual effects shots and you see stuff like this it's hard to like understand how much ingenuity has to go into these shots whereas these days these days you do a shot like this in a film and you watch it you're not like wow how did they do that because you can always just fall back on ah it's just a bunch of cg whatever there's something pretty special about this in a way it forces you to really commit to your shots that's what you're gonna work with and that's the piece you're gonna execute on for the next couple months in a way maybe it's good that we have that flexibility now we don't have to commit quite as much but it makes it like a very structured like theatrical play in a way it's a different style of movie-making i see trees of green let's watch this goof are we looking at a goof yep so doolittle which was a bit of a box office bomb has some legit amazing effects in it but the part we're gonna look at here has some jank give us five minutes if you don't feel better you could fry it stop talking he like clips through the side of the dragon's neck it's so strange it comes back out they're stitching two takes together and i think that's the motivation for this because see how far away he is then he goes back and then the dragon talks and it pans back and it's like super close i think that's part of it i think another issue is that they're getting this shot of robert downey jr working on the dragon they want to like show more the dragon here but they didn't rotate the camera when they're filming robert downey jr so his perspective stays the same it's like you could put your finger on his eyeball and then the camera moves and your finger would still be on his eyeball it's like someone forgot to parent his layer to the track yeah that's totally just like an oversight there that's weird man it's a bummer because like the rest of the shot actually looks really good like the creature work here the lighting the rendering the depth of field it's all like pretty well done it's kind of fun to be able to pick on one shot yeah i know it feels a little unfair like it's a little look at this whole movie it's like oh this one little mistake happened and it's not even yeah i gotcha it's a pretty tiny mistake too it's not like when you said he was gonna clip through the dragon i was imagining i was gonna see robert downey jr halfway inside of a dragon how many oopsies is this out of 10 oopsies it's subtle most people probably didn't notice it this is like a solid 5 out of 10. [Music] this has to be guys one of the biggest generational leaps in gaming just happened unreal engine 5 just dropped and they just dropped this video demonstrating what makes it crazy and this doesn't just apply to unreal engine this applies to the entire industry this is going to change filmmaking not only as we know it this is also like changing how we approach 3d programs in general the portal is open there's so much detail this is what the lion king looked like look at that and this is in real time and guarantee the lion king was not in real time let me explain some problems here all right so when we're talking about unreal engine versus cinema 4d 3ds max maya like the traditional 3d modeling and animation programs there's a big difference how are these mountains even made in the first place well you might use cinema 4d to make the photo scan of one or two of the rocks but you're making each individual tiny file in a traditional application and then bringing them in into unreal where you can view them all at the same time but we're not tweaking the individual polygons and vertices that actually make up the foundation of that model and so because of that they don't have to display all the model to you that's why this technology doesn't exist in those programs yet is because it's just a different needs structure in those traditional ones you try and open this giant mountain landscape your computer might explode anyone trying to work with the 3d scene has the limitations of what their machine is it can only handle so many polygons if you have a really high resolution mesh of a character you import the character and then you don't have room for anything else in the shot so you have to optimize what you have the reason why unreal 5 is a big deal is they figured out how to have all the geometry you could possibly want but still have it run really efficiently the team over at epic came up with a system called nanite it lets you take these incredibly highly detailed models the kind that you would see like in a film like remember king kong like that detail of a model unless you bring that into a video game and run it through the system and then have that geometry merge together and become simplified as it backs away so you never can see that change in detail as things get further into the distance they're becoming simpler and the computer's not having to pull all that data and likewise it gets closer to the camera it starts filling all the data back in and that's crazy because not only does it change how video games are going to be made moving forwards it kind of changes a little bit how movies are going to be made so let's say you're shooting on a green screen set okay well what is that going to look like is the lighting going to affect my characters what's going to happen here how should i frame things when we have access to technology like this it bridges that gap of going from hey three months later you get to see what this huge awesome city looks like to literally you can run a laptop next to your camera that can in real time at 60 frames per second see the entire detailed city that you'll be putting in your background so you are witnessing us crossing a technological edge we're gonna stop measuring things in seconds per frame and we're gonna start measuring them in frames per second it's kind of crazy to think about where we've come from just in the last like 20 25 years because remember that movie final fantasy spirits within i'm standing waiting for something i swear it looks like a cut scene no it does it looks like i could see 100 but when i saw it originally i was just like how can video game graphics get better yeah it's like we're there there's like no room for improvement it's perfect this was a mind-blowing movie at the time this was probably one of the most ambitious movies because they committed to having everything be a hundred percent cg not just computer driven they ended up inventing over a hundred plug-ins to work with maya to be able to make this film happen [Music] but it must be done every facial animation was all done by hand through keyframes and sliders they actually look pretty good like that's probably where a lot of the time went there's a couple things that are really holding them back one is subsurface scattering and that is the light entering your skin scattering and then coming back out from your skin if you don't have subsurface scattering for skin skin ends up looking like it's plastic and that was the thing for all the cg in the 90s these are the people who are like opening this giant gate that the rest of the world now gets to walk through and that is you know awesome cg animated films it's saturday morning it's subscriber appreciation day and if you're not subscribed well come join us next saturday and if you're not subscribed well i don't appreciate you no i'm kidding i appreciate every single one of you watching this video every single one including kevin we settled our grievances and now we're buds one movie i wanted to look at was army of the dead because there's a lot of cool visual stuff that is being done throughout it notably the fact that they replaced an actor that was in the entire film to the point where dave bautista who plays the lead role has yet to actually meet her despite being in many many scenes with the character so i haven't seen this yet and i don't know who was replaced i'm gonna see if i can spot them all right let's see team's all here lovely to have you oh i think i can tell wait what i missed it it's very subtle it's very subtle this shot right here nico who is it it's the girl that's standing in front of dave batista she wasn't the actress that was replaced for the whole film maybe in this one shot they had to do some tweaking but it's actually the one to her left oh really yeah see the white wrap i did a really good job the lightroom actually doesn't look too bad to me because yeah tinting blue it's the edge blur i think the edge blur is a little too strong you know now that you say it though like there is something a little obtuse about how she's standing in front of him maybe like her hair is too sharp or something and maybe she also had to be replaced in that shot to make the other one work oh cause you have overlap and paint outs to do that's the thing once you start replacing one person you quickly get into this territory of well what was behind them that now had to be replaced see she's replaced there in the corner too oh they did a great job that's great wow yeah that's really well so well done matching the depth of field and the focus change there's one specific shot that is like an actual like huh so here we go watch this even to triage what do you mean well i mean wow dang is the most important look at the hair do you get the green screen the lighting change well the tracking anytime you add a moving camera to the mix it gets a little bit more complicated i make this a lot more complicated especially if you need to film someone after the fact when you already recorded a scene with moving camera like do you film them again in real life with a motion controlled camera replicating your camera's motion but how do you even get the camera's motion when you look at that like the lens is so foggy and there's so much depth of field going on here see like all the light wrap and stuff and the haze and bloom we're getting they're also nailing the actual lighting direction and the silhouette and the actual occlusion as she gets further away from that light that all matches very well this is expert level like manipulation of light it's not like 3d work where you can just like check all the boxes that enable like 100 physically based realistic rendering you're filming on a camera which immediately takes it out of the realm of science and into the artistry because how your camera's been interpreting that image and then we're going to take that you know now no longer physically based 100 simulated shot and now i'm going to composite that and match the focus i'm going to mash the lighting and match the bloom i'm going to match the imperfections i'm going to match the motion you only make it look real by putting in the work and having the foresight in the planning and the knowledge and the craftsmanship you hear that and you immediately think of superman's mustache you're like we replaced an actor and you're like oh god here we go and it's basically perfect i think it's worth seeing the coolest the movie has to offer which is in the title sequence [Music] oh my god that's extremely gory this is very gory that's why i wanted to show it to you hey zach if you uh ever watch our show we'd love to have you on it it'd be really cool [Music] so the t-1000 groundbreaking at the time it honestly still holds up in a ton of shots and like shots have emotional impact too i hate that floor shot only because you tried recreating it and it was hard it was super hard [Laughter] while we could go in depth with the visual effects in this episode we decided to make an entire video dedicated to going in depth and recreating some of terminator 2's best visual effects so what we decided to do was a full deep dive investigation into one of those shots in particular the jail bar scene shot peter and i we try to recreate it with a couple different methods it's really fascinating check it out it's coming out on this channel tomorrow subscribe or you know just come back tomorrow hello everyone and welcome back to the brandio daniel special here on bfx artist react today courtesy of today's sponsor vesey shoes we're going to be seeing if we can float this shoe down this stream without getting the little piece of paper that i've placed inside of it wet in any way a lot of you guys didn't believe us when we told you that bessie shoes were waterproof and this is the chance to prove it to you all once and for all all right here we go there's a little 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paper inside of it wet no one ever said that but vessies are waterproof when they're on your foot so if you guys are interested head on over to vesey.com corridor crew and you'll get 25 off your first purchase that's betsy footwear.com corridor crew but anyways i think we all learned something here today let me know next time what you want to see in the brandio daniels special and now back to the episode i've been wanting to do some sort of like special effects episode at some point soon but we need some stuff to look at so leave a comment down below of some of the best special effects not cgi or visual effects especially make a very real special and then maybe we'll get a cool guest on to look at him with us bye everybody bye bye in this very minute

Channel: Corridor Crew

Views: 1,772,620

Keywords: vfx, cgi, react, vfx artists react, visual effects, shot breakdown, hollywood, ghostbusters, army of the dead, ghostbusters 2, zach snyder, bill murray, final fantasy, spirits within, unreal engine 5, Robert Downey Jr, dolittle

Id: QzT3SoBfEaQ

Length: 18min 31sec (1111 seconds)

Published: Sat Jun 12 2021

Reddit Comments

[u/MetalJunkie101]

Sweet, other Corridor Crew fans.

I was especially excited to see this one. I love their analyses/breakdowns.

[u/Dashsreddit]

I’d been commenting for months, they finally did it.