VFX Artists React to DUNE Bad & Great CGi

John that's so cool how would you do that kind of like motion blur this is so much work we're gonna be looking at Old Dune and new dude [Laughter] [Applause] what is this today's episode is brought to you by expressvpn stick around to the end to see how you can get three months free when you sign up for a year hey everybody welcome back to another episode of visual effects artists react Dune came out we all watched it we're all Gaga over it I actually haven't seen Dune I've been specifically not seen any trailers because I've been wanting to wait until I can see it in IMAX and I haven't had that chance to yet so hopefully I don't get anything spoiled today well you over committed because now we're gonna watch all the segments on vfxrs react and you haven't watched it yet okay I'm pulling a Clinton today we're gonna be looking at Old Dune and new Dune because old Dune is wacky it's ambitious and it's super Jank I'm very fond of the one from the 80s because I saw it when I was like 12 or 13. and so when I saw it I was like this is amazing and super scary and jacked up I think it's a good film despite what we might see today sit back relax listen to that guy as he does his Mongolian throat singing as you uh get the blood of your enemies smeared on your forehead and prepare for space battle and let's uh let's Jump Right In oh it's Willy Wonka it's Willy Wonka versus Thanos [Laughter] in the world of Dune there's not really any guns because everybody has these personal Shields that will basically stop anything that's high velocity from piercing them however you can kill them but you need to use a bladed weapon where you get in close and you push through the shield slowly you get the knife into their Shield oh it's okay so the shield is like a like a a glitchy Aura so like real talk this effect isn't that fancy looks like they just they're doing these flickery things versus outlining the person and literally just taking that whole Roto layer of the person tinting it red or blue sending it to a low opacity some sort of transfer mode and then glitching the position just a little bit just like you can do that all in compositing there's like no 3D work going on here yeah this is all just nice hand animation basically and honestly all of Dune the new Dune is kind of like this where it's not that the effects are like crazy technical achievements except they're all so well crafted by amazing artists the fact here is a shot you can do on your home computer it's about your art Direction your touch as an animator it's not about how crazy your tools are I mean maybe there's some extra fancy tools involved but really at the end of the day you could sit down in After Effects you can bust out this effect all right so that's how they did the shields in the new Dune how do you guys think they did it the 1984 version well they didn't have computers back then it's funny you mentioned that because when you see this effect it's going to look very computery very refrigerator like wait wait wait wait wait wait wait wait was that even Patrick Stewart's face or was that a stunt double and they were just hoping the Distortion would cover that that's Patrick's Day Patrick has way more hair on the sides of his head yeah so that's why they had to blur it so much because they put the camera right in the face of the stunt double they're like oh they won't tell the difference those cubes they that's that's computer generated though right that's like actual it is not no it's not there's no CG whoa okay all right dude I'm excited isn't that funny though it's like look CG imagine it's 1983 and you're working on this film and someone's like two computer Graphics are so sweet I want to have like CG block dudes for this scene and everyone's like whoa whoa whoa whoa whoa we can't actually render CG block dudes like that over your footage yet sir like we can't animate it to that degree in complexity we haven't invented the jpeg yet yeah jpegs don't even exist so basically what they end up doing is go all right let's reference what CG images look like from the time but we're going to hand animate and hand draw everything in this scene yep well okay so every single one of those little cubes and squares are all hand drawn yep yeah but what about the whole so you know they hand draw all these cubes on top of them and animate them and then they're like all right it still kind of looks junky that's how they make a fancier and David Lynch is like I wanted to distort the environment so they're like okay and what they had to do is they had to separate every facet of these geometric Cube shapes into separate plates so they drew the cube and then you have to like make a separate plate for the front of the cube and you have to make a separate plate for the side of the cube and you have to make a separate plate for the hand part of the cube and they'd print all them one by one each facet of this Cube one by one printed with an optical printer that would basically just move and distort the film plate for each facet it took them nine months to make the sequence that's fascinating what I think is really funny about the scene what's the point of having a shield that protects your body like that if that's how you look that's why the new dude is better it's like you turn on your shield and it's there but it's not like you can't see it all the time you don't look like a freaking like Roblox yeah here's what we're trying to look at too much I can't actually see any of the choreography the reactions what's happening although when his hands kind of push through there at the end that was pretty sweet both films do very differently is how the atrates family travels from Caledon to Iraqis so sunset on kaladan we're leaving our home planet a new world away it's they're traveling through outer space so that's it this shot is the shot that shows you they've traveled from one planet to another yep that's it that's also kind of like a classic film thing which is you you don't want to like show people traveling to places like they're either departing or arriving and then you don't show like The Hour of them stuck in traffic right so Denise Villeneuve amazing filmmaker but he didn't have the guts to show a space travel David Lynch was all about it let's do it yeah so just real quick mechanics of how this works they load up other ships into this giant High Liner I believe it's called and the highliner teleports from one spot to another and they can take all their ships out of it and the Highlander is piloted by a guild Navigator which is basically a human being that has consumed so much spice that they've warped and turned into this weird creature that can bend space and tire they can see through space and time in order to navigate these ships through space and time so like Tabasco allows them to teleport you guys go you got it 100 you nailed the capsaican yeah so David Lynch is like I'm gonna show what it looks like to travel through space as a guild Navigator warps you with their mind using one of these highliner machines oh oh it's her boy so his name is Steve you said the guild Navigators are human it is a human it was wasn't human it was it wasn't human this is what the spice says to you if you'd eat too much no we're going to space now that we're going to travel through space decision to have them shoot light out of their little undulating mouths [Laughter] [Applause] [Laughter] so it's so funny for the star facts it looks like they got like water with like fish food in it yeah I was gonna say it looks like just a bunch of particulates in water that they filmed against black they're trying to get the like swirling yeah and now we're here okay after all that it's just like sir We've ran out of Animation budget for the big finale for the for the teleportation scene they're like it all right crank the opacity so in the new Dune they just got rid of this entire sequence and they're just like hey big space hole just cut to this shot basically minus the fading man it would really suck to go to arrakis after living on Caledon we're going to the valley guys here we go one thing they are nailing is atmosphere which can get a little tricky when you're doing compositing because when you're doing compositing you're bringing in elements from a bunch of different things and basically cutting them together in your program the thing is getting that the light to play correctly when everything should be at different layers of atmosphere and get really tricky because atmosphere does a bunch of weird things sometimes it adds light to things sometimes it takes light away from things sometimes it takes out certain colors but leaves other colors like you can see how there's no blue sky here for example the The Fog the dust is actually catching light and scattering it and kind of almost emitting glow as if you're looking into like a cloud exactly yeah because it's like when you have a bunch of particulates in the air and they're being lit up they're tiny little particles that are reflecting light from the source directly to you and when you have it broadened out like that it's essentially just a giants like volumetric reflector all right so we've seen where they arrive on arrakis AKA Dune actually has a super impressive shot take a look at the shot I want you to tell me how they did it okay first off are all of the extras real there in the on the I'm not telling you you tell me you might have to go up to the TV to be honest with you I think everything is a map painting except for the small group of people to the right of the green flag there in the middle and leading up the stairway there and that's where it ends and everything else is a matte painting go look closer go closer I'm curious tell me that that's a mad training go look closer whoa okay first off I think they got some dummies I think there's some dummies in that shot because some of the people are moving and some aren't wait what okay okay hold up I think I think I that's a miniature because there's a shadow over the people underneath the thing so it looks like the people and the miniature spaceship are real at least physically real okay so you got your miniature and you got your real people so how do you get both of those into the same shot okay so if it's a miniature even if it's a big miniature it's trying to replicate the scale of something that's like a football field in size so it's got to be really close to the camera and there has to be some sort of like cut out so that any real people are off in the distance unless this is a composite I gotta know is this all done in camera 100 in camera when you're looking at here is what the film looked like when it was developed because they went and filmed this at a stadium at Aztec stadium in Mexico they built a huge scaffolding like 40 feet high they put like the 10 foot big model on that set and they have a little hole and they're filming through it and through that hole 250 feet away is the actual doorway with the stairs and the people with the flag the people are walking down okay so it's not composited it's just all done in camera but so all of the people to the left and right are those little those are all dolls [Laughter] this is a miniature shot how come this Vanishing distance and like perspective in this shot if it's a miniature shot how big how long does that mean a chair is it 50 feet long oh those are other Miniatures there that are actually smaller they're forcing the scale a little bit they're forcing the perspective a little bit yep if you look closely you basically if you look at the lines of the runway on the right below the ship you can see it stopped going straight and tilt up and what they've actually done is they've shifted like the ground to like slant upwards to give the impression of a Vanishing Horizon Point those are just smaller ships smaller dolls and the ground is slanted up to make it look like it's going to the distance but it's only a few feet back so the crazy thing to think about is like not only do you have to make a cool miniature set but you didn't have to build erect an entire scaffolding system to make it split it up like 40 feet high with stairs and platforms and cameras and also line up with another real set that you built in the distance like this is so much work but that's why this one shot this is the best looking shot in the entire film yeah there's some incredible miniature work in the original Dune so I've been working on my uh my Mastery of the voice I'm gonna use it on you here we go leave a comment now you're compelled right how dare you use the voice on me so I think one of the coolest things that the new Dune got right is how they designed the dragonfly-esque ornithopters their Acts actual dragonflies dragonflies are sort of ship designed after them like I said I've been avoiding seeing any imagery from this movie so this is my first time seeing any of it and I love it they nailed the motion blur for high speed movement like that like we're talking like such high frequency of motion that like in a single shutter not only does it go down it goes back up and back down and back up again and then but it's catching the light there there's one of their words yeah that shine uh there's moments when it's catching the light and exposing it well enough that there's no motion blur just built in how would you do that kind of like motion blur like normally when you're doing motion blur with visual effects you would render out a like a vector motion pass basically which is like your image except it's a it's a rainbow in each color corresponds to a different direction and speed that things are moving but when you deal with something like this where it's moving so fast that it would go beyond any value you could possibly assign your motion blur it's like you have to do it custom I wonder how much of that flapping is a post effect I don't know if the render engines are actually good enough to replicate that the way we're seeing it because how many sub steps would you have to have in order to be able to have like that perfect lots of sub steps a lot of sub sampling I have a feeling that a lot of the motion blur of the Wings was pushed further in compositing rather than the render stage I agree that's really well thought out someone had to do a lot of research into real dragonflies in order to make sure that this shot looked as cool as possible yeah hey real quick let's show thefters in the 1984 version I don't even remember them there's no wings there's no wings they realized early on that they tried to do flapping wings and look really silly so I don't know why so next we should compare the scene where the sand worm attacks the spice Harvester and see the different approaches they took with it so are the worms the spice you got to chew up the worms for the Spice the worms poop the spice and you eat the poop dude what is this story wait seriously I mean that's not that weird alcohol is just yeast poop I mean yeah fair enough although I wonder how much you have to how much do you have to drink to teleport through space it's called blacking out it's called Black [Music] yeah wait hold up they nailed this this shot is pretty sick yeah yeah they got this one right wait oh dude [Music] it's kind of too bad it's all awkwardly framed yeah it's like so static they must have gotten like really really really fine powder yeah wow I'm actually I'm impressed that's the first thing you thought of because that is the hardest challenge they had because you can't do that with regular sand yeah it's like okay we're gonna do a scene uh can you bring in the miniature sand yeah so it turns out they have miniature sand actually yeah really really fine powder is just really really mini so it's actually little micro glass balloons so there's a method that you can make these like really like microscopic glass particles hyper hyper hyper dangerous to breathe so everybody on set had to have like respirators and goggles because the stuff gets in your lungs it's it would cut up your lungs and it would never leave it would never leave your lungs oh my God so the reason why I caught onto that Nico is just how like fluffy the actual smoke looks the actual like dust and smoke that's hitting the air actually looks large scale but it it can't be they can't have some giant worm coming out of actual sand so it has to be a miniature but in order to get that sort of looking effect the sand can't be real sand and you also might notice there's actually the cameras moving that shot so when you're shooting stuff in miniature you want to look big you have to shoot in slow motion and they shot this sometimes at 120 frames per second sometimes at 240 frames per second it's filmed meaning that film reel is spinning fast through that camera just burning through that film and almost bet there you see how the worm bites on it after it explodes I would bet those two things are supposed to happen at the same time yeah yep and in real life real life it probably looked like it happened at the same time but once you yeah yeah nailed it you reviewed and you're like it's like close enough I guess yeah so you're telling me that there's a modern version of that shop yeah a worm eats a building oh yeah oh my God it's pretty sweet Ryan you're into science right I like science okay there's like a phenomenon when sand you know how do I say it if you vibrate it and pump enough air through it it becomes liquefied exact Perfection is the name of it it's it's that liquefaction is a thematic element of this film [Music] oh yeah oh yes I'm just getting like taking a lot of inspiration from not just awkwardly looking at a side table I really like how they execute this the shot and like it's really cool seeing the similarities between 1984 Dune and 2021 Dune and like it's almost the same shots and it's Soul it's the same shot just like executed so much with so much more excitement I love the Bold choice just cover it up yeah with the loading door one of the coolest scenes is the Harkin and Ambush scene at night and specifically the crazy Shield bombs they use oh my God in the shield generator finally like crashes and then bomb like the explosion bursts out of it it's so cool dude it's so cool it's so good once again it's like it's just a good idea it's good art Direction well I just love that idea like I did that a basic version of that my uh satisfying render remember the smoke thing that fills into this yeah and like it's it's a thing where it's it feels abstract until you're like oh no in our world we can justify that in our world you're actually gonna see a contained shape fill up with an explosion before like I don't know it's it's so cool foreign we got a hostage situation because today's episode is brought to you by expressvpn that's right when you're connected to an unsecured Network your data out on the open internet is being held 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to click the link in the description below well then get off YouTube and now back to Iraqis with the boys on the couch my takeaway from this is that there's a lot of really cool ideas in June 1984 that I think just get marred by how much work and effort it is to execute on all these visual elements I feel like doing 1984 had a lot of inspiration for June 2021 so I'm glad it exists for that reason I love all the art design it's cool going back and seeing Miniatures but the new Dune is expertly crafted and I don't know if sci-fi can get much better than that so it's just cool it's really cool going back and forth and seeing the differences and seeing how much like Cinema has grown and how far special effects and visual effects have come thanks for watching everybody this is a super fun episode we'll see you guys in the next one Spider-Man 2 versus Spider-Man 2 versus Spider-Man 2 coming out soon

Channel: Corridor Crew

Views: 5,996,987

Keywords: vfx, vfx artists react, react, cgi, visual effects, dune, 2021, 1984, david lynch, denis villeneuve, Timothée Chalamet, Josh Brolin, oscar isaac, jason momoa, new, special effects, funny, shot breakdown, behind the scenes

Id: OHPkdMGI6D4

Length: 21min 40sec (1300 seconds)

Published: Sat Nov 13 2021