[daddywags214]

Hello! I'm posting a link to the thesis I wrote about visual effects. It's quite long, so I have no expectations of people reading all of it. But if you have some free time and want to read some effects theory and history, go for it!

Click here to read it! It's a 2mb PDF.

My thesis discusses why certain visual effects films stand the test of time, while others do not. Some films' effects become outdated very quickly, even within a year, regardless of how critically and popularly acclaimed they were upon their release. Yet others, like Jurassic Park, remain effective over a decade later. I analyzed 10 films, covering both "good" and "bad" effects films, as well as a wide variety of different types of effects films : Jurassic Park, Forrest Gump, The Day After Tomorrow, Transformers, The Lord of the Rings: The Return of the King, The Chronicles of Narnia: The Lion, the Witch, and the Wardrobe, Brokeback Mountain, The Bucket List, Children of Men, and War of the Worlds. Through my analysis, I discuss the importance of matchmoving, compositing, controlled scale of effects, as well as the role of cinematography in visual effects, and most importantly, the critical role of story.

The thesis also includes a short history of special and visual effects, including the all-important Digital Revolution of effects films.

[tinitron]

Hi, your thesis was a very interesting read.

I agree with most of what you stated there especially with Jurassic Park. But you did not mention matchmoving which is really an important part why the effects still work so well. Jurassic Park was the first movie to not use a lock off camera for effect shots. Steven Spielberg insisted in moving the camera as he likes not caring about the effects. As there was no 3d camera matchmoving software at that time they had to do it all manually. This is nearly impossible without any references in the picture so they did a big grid on the floor with tape to see how the camera moves. Of course this grid had also to be removed in the compositing. The gallimimus stampede is a very good example for this.

But I do not agree with you on Forrest Gump. Most of the effects do stand the test of time but the integration in historical footage does not. Watching the movie over ten years after its release the sensation is not there any more and Forrest kind of feels more over the footage than in the footage. And there is also this shot of Forrest and Jenny going for a walk past all this protesters with candles and torches. You can see by their motion and in relation to the movement of the backgroundplate that they are walking on a treadmill. And there is some spill and it seems also the blacks are a little bit off.

Best regards

[daddywags214]

I actually talked at length about the importance of matchmoving, especially in the section on Children of Men, as well as in the conclusion. I listed it as one of the crucial elements of making effects stand the test of time.

There were shots in Terminator 2 shot with a moving camera 2 years before JP. But JP did have the fantastically free-moving handheld Gallimimus sequence, you're right. In both cases, though, the directors insisted on filming the movie normally, and not letting the effects alter the cinematography, which is crucially important.

In today's all-digital all the time world, it's very tempting to use ridiculous camera moves in an all-CG environment, which, I think, does not work for photorealistic styles of effects.

As for Forrest Gump, we'll just have to agree to disagree there.

[Gentle Fury]

I've started reading this and so far I've noticed a couple errors....tho it is pretty gutsy to write about the process of making a film with no experience in the field...lol

For starters it is VERY rare to actually have a vfx sup on set....while yes it is ideal and many huge budget films do have them...many many many major motion picture releases do not have anyone onset supervising vfx shots...and this results in more work for us! YAY!

Secondly you missed a critical stage in production....post-viz. Post viz is when temp comps (or slap comps) are put together as reference for the creation of the actual effects. Use of offline footage with burn ins is mostly used in this step, keys are completely temp and usually look horrible and they only serve to inform the compositor where things need to be positioned on screen and if there are any repos that need to be done. Without the post-viz stage the process would be impossible...since you would have artists just doing what they think is right....

Lastly compositors NEVER do color grading! You will have to occasionally do color correction on elements to match plates....but you will never do the final grade. You return your plates as they were handed to you unless instructed otherwise. There are a couple reasons....one...it's not a compositors job, two, the director usually sits in a color timing session to come up with the look, three......color is not the last step in the process...it is an ongoing step in the process...as is editing.

Post production of a film does not have an ABC progression. They are still making changes to the edit as vfx are being created (usually resulting in shots you spent a lot of time on being cut, lengthened or just completely changed), and color is ongoing as well. If you change the levels of the shot at all it will throw off the color step, since they have already worked on the color using the source plate...then they put in your new comped plate and the values have to match exactly or their color will not work.

Just wanted to point those out before I continue reading.

[daddywags214]

Compositors never do color grading at a VFX company, perhaps, but it definitely happens. A lot of independent features have laughably small post-production budgets, and end up hiring a small group of people to do editing, effects, and audio. With such a small team, it makes sense for the effects people (often with input from the DP) to do color grading—sometimes they're just the best people for the job. I'm well aware that on any studio feature that actually employs a VFX company, this won't be the case.

I have more than enough experience to know that film post is not A B C, etc. I've worked as an editor, comper, and composer and I know how much overlap there always is. But you have to remember that this thesis was being presented to a college dean with no background in any sort of film or media. Presenting it as ABC is the logical, simple way to explain it. Writing it in ABC is the only way to make it make sense.

[Gentle Fury]

Originally Posted by daddywags214

Compositors never do color grading at a VFX company, perhaps, but it definitely happens. A lot of independent features have laughably small post-production budgets, and end up hiring a small group of people to do editing, effects, and audio. With such a small team, it makes sense for the effects people (often with input from the DP) to do color grading—sometimes they're just the best people for the job. I'm well aware that on any studio feature that actually employs a VFX company, this won't be the case.

I have more than enough experience to know that film post is not A B C, etc. I've worked as an editor, comper, and composer and I know how much overlap there always is. But you have to remember that this thesis was being presented to a college dean with no background in any sort of film or media. Presenting it as ABC is the logical, simple way to explain it. Writing it in ABC is the only way to make it make sense.

Well the reason I mention compositors never do grading is because nowhere in your paper do you mention independent or student films...you are discussing professional/hollywood/blockbuster films.

In the context of your studies compositors never do color grading.

[daddywags214]

Fair point.

[blueworks]

Hey Thom, I'm almost half way your thesis. I'm pending my thesis for graduating of ¨Sound and Image Designer¨ back in college, my first attempt was ¨What makes a VFX look real in movies¨ and my tutor fail me because she said that it was more a tutorial than a thesis, she is a Old School Art Director that have never work with 3D (as far as I know). I'm checking your paper to see how you develop the structure I maybe creating a reference in the future to your project. Well, next year, right now let´s finish my demo reel LOL.

[tinitron]

Yes, you are right about matchmoving in general in your thesis, that's fine. I just think it's also important regarding Jurassic Park and should not be left out.