oh goodness there's something very
special about the shot there it is
it's not in black and white let's do a
slate like this
welcome to VFX artists react to bad and
great CGI where we applaud the genius of
good effects and blame the producers for
all the bad effects Maureen there's a
combination of rushed and bad ideas all
in one Sparks he barely touched it flush
flush everything's fine
these are some straight-up iPhone
compositing like get an iPhone app to
put claws in your hands first off that
the tracking on his right hand ever so
slightly jiggles it's hard to see frame
by frame
but in motion it just doesn't quite feel
attached but even more so there's no
freaking shadow on his knuckles yeah but
you got these just like the CG model
sticking out of his hand they don't even
have proper motion blur highlights in
this either like notice when the motion
blur is on the bright parts of the blade
the bright part gets dimmer whereas that
bright part should be bright enough to
selectively metal that it stays bright
imagine my flashlight is a bright part
of a blade I go like this it doesn't
turn gray it stays white I bet they
probably didn't have a proper hgri for
the scene basically capturing the proper
lighting of the scene but also
recreating the materials in a very
scientifically accurate way they
probably just kind of winged it maybe
they were running out of time they had
to do the scene really quickly the
biggest question is why aren't they
practical that's exactly they have a
special type of blade holder that's like
you literally just hold your fist and
the blades like conform perfectly around
your knuckle and it looks real well
that's a great point do it practical
when you can
dude this seemed sweet are you serious
guys watching all this happen is so calm
you know what it floated for a second
yeah it was kind of the animated
position and scale you know it's just
like a stock image of a helicopter that
they they made grow larger do you
recognize those mountains in the
background at all they filmed lots of
scenes here including scenes from like
Chronicles of Narnia famously Lord of
the Rings they filmed a lot of stuff in
that area and that specific Valley is
where Isengard is located oh yes
speaking of which Lord of the Rings
Hobbit we've seen your comments it's
been very highly competent about so
we're definitely gonna be doing an
episode comparing the two very shortly
and if you'd like to see other movies TV
shows anything at all for us to react to
please leave a comment below we read
them all my name is Charles Xavier
what's wrong with his eyes not his eyes
Prince or Patrick Stewart sighs just mr.
clean I think it's just an example of
like they're probably just going in and
taking out all the wrinkles and doing
some patchwork on his face but in doing
so they're not staying quite entirely
true to the lighting on his face and
where the shadows would be and where the
wrinkles would be this shot I continued
background plate there's foot there's
footprints they're leaving footprints
when they run why are they leaving
footprints and not even having a shadow
like at least a fuzzy soft dark matte
underneath their feet
oh this movie had the same budget as
transformers and this is the quality
that the effects in this movie like this
is the like the last stage of artist
just eyeballing it and being like I
guess the background and probably be
this bright let's bump it up versus like
hey I went out there and got like light
meter readings and I took my photo
samples and I use my HDR I and I have a
scientifically accurate and measured
moment for what that should look like
transformers looks so good yeah because
that's what they did for all the
Transformers everything was physically
accurate measured with HDR eyes proper
surface simulations like that looks good
well that's a real shocker that's real
truck Michael Bay does what I think is
the perfect approach for CG which is
blending practical
visual effects together in one shot like
that truck is real it's just kidding the
truck is not real good dude oh this bus
shot something special about this guy
shot that bus is real that explosion is
real that bus they already had it
chopped in half and they tear it apart
in the middle of scene that's all real
the only thing fake is the robot going
through it oh wow they have why ballsy
they have wires on the edges of the bus
pulling it apart yeah it looks so good
and this movie is 12 years old by the
way something that's helping Michael Bay
he's putting the camera in a realistic
place it's very grounded you're in a car
you're gonna chase cam you know yeah
you're seeing it from these angles
that's so cool and the huge challenge
with that though is you're literally
filming something that's not there so
you have to have what we call our CG
goggles you have your CG goggles on you
have to be imagining that robot coming
through when Optimus gets tackled
they're right here
it's like slightly out of frame it feels
flawed in a real way I don't think
people give Michael day enough credit
for his filmmaking skills absolutely not
oh my god this is brutal man then that
fur looks so good that one went
Natick fur dude right here we're like it
kind of picks them up and like bites and
moves them that looks really good get in
the frame I'm you see your reaction also
it hasn't cut yet by the way
oh the fogging of the lens Wow do you
think that was real fog no I can because
what the beer wasn't real duh what an
effective what an effective scene though
man what sells this shot is the fact
that leo is actually being moved around
physically yes in real life it wasn't
there a guy in place of the bear
I mean Arthur worked on this movie
that's true oh yeah call Arthur Arthur
yeah do it I'll do it I'll call Arthur
real quick it's good it's good
hey sorry here watching the bear scene
from the revenant and we're wondering
did they have like a dude that was
pulling Leonardo DiCaprio around or was
like he on wires like how do they do it
so he had a guy in like a blue suit with
bare arms that was kind of one part of
it just kind of being good expressions
for the movies
he had bear arms yeah Leo was in a
harness that was pretty complicated wire
contraption to several different trees
so that the wires had color in different
directions one of the things is that was
really critical as rehearsal because we
had to know what the Kong quote fight
choreography was between the bear and
Leo so that the guy in the suit alley of
the cold canal can it be in sync so that
when they did put in a bear it would
line up so are there some hidden cuts on
this like long take thanks for the info
man trying to figure out how they did it
yeah a match cut is basically when you
have a cut from one piece of footage to
another but an element in the footage is
basically in the same spot like in 2001
the bone turns into a spaceship but
master cuts can also be a visual effects
technique or basically a magic trick
where you know you're doing bases like a
whip pan and right in the middle of that
whip and you're just match cutting right
in the middle that whip when things look
the same like that's still a match cut
it's not like an artsy match it's not
enough it's a hidden match cut but
sometimes hidden cuts are hidden by
making the match cuts sometimes they're
hidden by things wiping the frame and I
think it's time for us to look at the
master class of match cuts and hidden
cuts Kingsman is a great movie super
stylized Matthew Vaughn tearing it up oh
man look at that high sugar speed style
everything's just super jittery oh yeah
the CG doesn't look so great there but
you know what who cares yeah I'm gonna
dislocate a shoulder oh ma
[Applause]
Oh incredible oh is that the most
visceral moment of this entire scene
people are getting their heads that's
blown up and that woman just got her
neck shot but somehow a dude crumpling
up like that against the wall
dummy shots are so funny it's like it's
real that's a realistic looking head
dummy all right I think we should go
back to beginning this scene just take a
moment and show you our bunch of the
hidden cuts our and then talk about how
they did them all right right there no
right there for sure right there cut
boom cut cut I think the reason why
there are so many hidden cuts in this
scene is because this is an incredibly
complex choreography it's like a it's
like in a video game you can't beat the
whole level without save points I bet a
lot of these different stunts require
very specific setups that you can't do
with the camera going through the entire
scenes and what they're doing here like
our eyes are super sensitive to motion
to the point where we don't really read
details in them so that guy wiping the
frame that as he wipes the frame there
rotoscoping the edge of him so
everything gets revealed as he wipes is
from the next shot it's one thing to
have hidden cuts it's nothing to have
the intricacy of this puzzle of a fight
scene where you're doing all these
tricks and taking advantage of those
hidden cuts wait a minute wait a minute
is that Lieutenant Dan Forrest Gump
it's actually a treasure trove of
amazing visual effects shots there's
something very special about this shot
there it is hold up hold up the actor
has legs by the way so there's one very
very small thing that they did here that
helps sell that he's missing legs Clint
did you see it yeah so if the actor has
his legs which I assume he does then how
does he swipe his legs past the coffee
table yeah exactly so here's what I
think they did that table wasn't there
when they filmed Gary Sinise and they
added that table back in because notice
he never actually interacts with the
table
he walks behind the table the other guy
walks in front of the table the other
guy being Tom Hanks and if you look
really closely you can totally see the
mask fringing on the table oh yeah dude
we're right yep so they had to recreate
the stumps essentially right yeah just
all in all excellent excellent CG work
but it's the little touches like I
almost have a swing his legs to where
there's a table that just brings the
world
then really like drives home the fact
that like this character does not have
legs you all right so this one have you
guys seen this movie before wait is this
the is this spider-man in 1932
Pleasantville the general premise this
movie is that Peter Parker here who's
gone back in time he's gone back to like
an idyllic Leave It to Beaver style TV
show and he's he's basically broadening
embrace horizons he's introducing them
to modern America she's embarrassed that
she's become colorized because she's
becoming modernized she's becoming a
modern woman but she doesn't want her
husband to see her that way
so she needs to have her face painted
back to black and white so is it like
what is he like putting on like green
screen makeup and they're just coloring
it to be silver you got it so all
they're doing is putting a green screen
key on it and desaturating it and that's
all they're doing but what is lis
saturated that you could do this in
DaVinci Resolve yeah I don't know how
they did this the world is black and
white how do they get yellow light to
shine on the characters and things in
the world well they're not filming in
black and white I haven't seen any
yellow light yet all right so the yellow
light on the fence there you see that
yellow light on the black the black and
white tree has yellow light on it wait
that's because they're not they're not
filming until elections on that truck
all right is this the results of a
clever magic trick it's not in black and
white color cracking it so it is in
black and white and then they reveal it
so that it looks like it but that does
make sense clay we didn't know what of
course make sense is produce a basket
and just track your mass I mean I agree
with Clint on this that makes sense to
me you just do a luma key on anything
that's like brights in the shot and then
specifically mask out the spots that you
need that are gonna be yellow but I
guess that fire truck can't be red that
flag can't be red white and blue that
house has to be painted white already
because if you're going to let the color
through the stuff that would have a
color needs to be black and white for
that colored light to be on it if you
guys have any guesses as to how they did
the yellow light shining on a black and
white world here leave some comments
below if you happen to work on this like
he was an email hard it's just masks
they're just tracked mass how are you
tracking if a guy has orange skin and I
shot
you tend it all right I want to show you
guys a historical VFX shot show me one
this isn't computer graphics the
question is a special effects or visual
effects whoa
okay the wig I get but there's like no
cut there's no transition on her face
evolving and transforming how do you
think they did it it's obviously some
sort of optical effect here yeah she's
painted right yes it's a it's a
transition revealing so how would you
hide the paint so I'll give you a hint
this is an effective only pausing black
and white is there some sort of like
lens filter that can't see a certain
shade of makeup mm-hmm is that what's
going how would they okay how would you
do that how would they change the
mystical it's quite simple actually it's
just a red and blue filter just like
when you have like 3d glasses and we're
like in the red side doesn't let you see
the red lines and the blue side doesn't
let you see the blue lines you see have
a red filter in front of the camera and
it's filtering out any red on her so you
have like all these red marks on her
face but you can't see any of that
because the red filter is cutting all of
it out you transition it to a blue
filter and suddenly all those red
splotches become bright and you can see
all the luminance difference well let's
go to black and white now let's just
show only the blue channel because
colors made up of red green and blue
channels so we show only the blue
Channel this should look relatively dark
and this should look relatively bright
now if we flip it over and go only to
the red Channel this should look pretty
dark and this should look bright when
you go specifically to certain color
channels you get different luminance
values and that's basically what they're
doing with their face the greatest thing
about old movies like this is that
they're still doing these crazy for all
intents and purposes visual effects but
they don't have the same sort of tools
that we have today and they have to be
really really creative with how they go
about achieving these visual results oh
oh my god is it finally happening are we
finally reviewing the worse that we
can't do this we can't do this here do
you think we're gonna cover the scene
get out of here we're gonna come back
we'll hit will it wasn't the worst he
effects shots of all time I don't think
we should ever review this shot you know
what I think we should do I think we
should try to fix this shot if you guys
want to see us do that video please
subscribe and that's it thank you so
much for killing on the couch with
we learned some new things about visual
effects that was a blast guys I'm just
doing my best rent impression right now
thanks for watching if you guys like
this video please subscribe to the
channel if you have a video or a movie
or clip that you would like us to react
to hit subscribe leave a comment we read
them all it's a blast Wow look do that
it might surround about two runs