Nooo!
What, he gets shot in the head with a tank round!?
So one of them is actually a bear, I guess. Whoa, whoa, wait—
What the—
So what's up with this spaceship?
You're about to see what's up with this spaceship.
This video is sponsored by RayCon. Stick around to find out how you can get 15% off a pair of your own.
Hey guys, welcome to Visual Effects Artist React
This is the show where we take a look at your favorite movie clips, and we tell you why they're good!
And sometimes we tell you they're bad.
Fun fact, uh, this is kind of like how they shot Lord of the Rings.
This is how they made– (laugh)
Frodo and Bilbo Baggins look so tiny compared to the big ol' Gandalf.
This is— This is special behind-the-scenes footage of Lord of the Rings.
(laugh)
Guess what? We got some great clips. We got some janky clips. So we're gonna look at them today.
Just take a look at a Russian film called T-34.
Isn't that a calculator?
(laugh)
*fwoom*
Oooh-
Their muzzle flashes from these tanks are so good.
Yeah, these are world-class, like, slow-mo particle sims.
(Russian)
Dude, look at that slow-mo bullet!
What kind of bullet was that?
It's a tank bullet. It's a tank bullet. (x2)
Oh, right in the face??
noooOOOOO W-What—
—he gets shot in the head with a tank round!?
What??
In the frickin' head?
Someone wrote this for Nico.
Because, every time we have a Corridor brainstorming session,
He's always like- I have an idea.
We- Let's follow a bullet really far from one place to another, all right?
And this whole movie is just... that.
Well, here's the reason why I like that shot so much.
It's 'cause it's actually a relatively easy shot to do.
You just need a way to move a camera smoothly,
whether it's on a Gimbal, or a Steadicam, or it's on a dolly track or something like that
and then you motion track it,
and you just put things that are frozen in the air around the motion tracking.
So, back in the day,
we did this crazy frozen fight scene,
everything's, like, lingering in the air and,
All we had to do is have everybody just hold still, and then move the camera through the scene.
Then later on we tracked it and added all the debris and the frozen smoke and stuff like that in the air,
And it gets a big reaction out of people.
Oh, yeah. Yeah. You're right.
Look, I'm just, like, freaking out right now.
This is crazy. Yeah.
(intense music)
(yelling)
What?
What? This is how it ends?
Is this the finale?
Two tanks turning their barrels to each oth–
Of course this is the finale!
You gotta do it manually-
Just trying to go faster. Oh no!
(panicked heaving)
I'm just saying, this is the coolest thing ever.
(laugh)
Oh, and then– It's gonna slide on out.
That big Sabot round.
(mimicking slo-mo tank bullet)
Oooh–
Bam.
Oh, that multi-milla shockwave,
Sparks!
Sparks are so good!
I love sparks!
Whoa, they even got those flame geysers coming out of the choo-choo hole!
(choo-choo whistle) (laughing)
I love the detail of– these shells, like,
liquefying when they strike– objects.
It's– It's satisfying.
What sets this movie apart from everything else
are the simulations of the fire, the smoke, and the sparks.
And the liquid metal.
Fire and smoke and liquid are, like,
some of the hardest things you can ask a computer to do,
and these guys are like:
"Let's also do it in slow-motion, up close."
So, not only does it have to be high enough detail to look good at regular speed,
It needs to be high enough detail to look good at slow motion!
This is probably all done in Houdini,
which is a program that has good fluid simulations, and good smoke simulations,
and fire simulations, and spark simulations,
and rigid body, and cloth, and all this stuff
and can do that all under the same roof.
Houdini didn't have very good looking fire back in the day.
It didn't have very good looking explosions,
But they've been working on it and working on it.
You just get all this crazy, crazy detail from having all the systems interact together.
I mean the closest thing we have at the studio for this is, like, X-Particles,
where you can actually have your explosion push an object.
It's, like, the only system we have right now that can actually go,
"Oh, well, I can sense there's expanding air in this area,
so I can translate that data to some objects on the ground and have them–
actually kind of move in relationship."
I love how committed this movie is, to just,
the tactics of a tank fight with this crew.
It's like–
entire 20-minute sequences that are just a fight.
Do you think World of Tanks funded this?
I wonder, man.
"Hey everybody, today we're playing World of Tanks."
(Narrator) These people... are our only hope.
What's the name of the mission?
"Guardians."
Now we're watching Russian Avengers.
We've already- reacted to Weta Digital's take on The Avengers
So now–
We're taking our budget from 300 million
and we're scaling it down to 5 million.
And also we're going to Russia.
Oh, man. I cannot wait.
Basically, this is Russia's top superheroes fighting baddies.
This is the part where they're like,
"All right, Deadpool."
"Or no, Nightcrawler, plus Deadpool."
*whoosh*
(blade slicing)
*gasp*
Oh, sweet anime!
Oh man!
Dude, Russian anime?
Oh!
That was pretty cool.
I'm digging this already!
This is pretty sweet!
As cool as this is,
it kind of ignores the fact that he would have to–
–get to the same thickness as a sword to be able
to go through the car.
(laughing)
He gets reeaally skinny!
(skinny legend)
Oh yeah!
That's so cool.
*Mario pause sound effect*
How do they film that?
He starts off on the left,
then he's on the right,
and then he's on the left again.
And it's all one smooth camera shot the whole time.
The only real plate is the last one,
and the other two because he's mid-air, slash, like, away from camera
Those are probably gonna be plates.
I mean, that's how I would do it.
Those first two guys,
you never see his feet.
And, I think the thing that really signifies what's real and what's not, is–
Look at his hair throughout all of it.
So right there, you can see not a lot of detail on the hair,
you get the big strands without the tiny strands,
Same there.
You get kinda big strands without the tiny strands.
And now let's look at his hair here
Yeah, I can see that really fine hair detail on top of his head now.
He stabs the truck,
The cuts were already on the truck,
as were the swords,
and he just comes in and grabs the swords,
and they just paint him out for this few frames before he gets there.
All right, so one of them is actually a bear–
I guess– Whoa, whoa, wait–
What the–
(laughing)
Bear man??
He's a man bear!!
Sometimes, he's full bear, too,
Which I don't understand why he'd ever become full bear when he–
when man bear does this.
(ratatata)
*Mario pause sound effect*
Let's say you have transformation powers,
Do you ever have the forethought to maybe take your shirt off before you transform?
(laughing)
Like, or– is it always, like,
you're in such a grave situation that you're like, "no time."
(mimicking ripping)
And you shred that garment?
I think the reason for that, Sam, is just that
it always looks cooler to have clothes rip apart.
It looks way cooler to have a cloth-sim on your bear-sim.
(chuckle)
(roar)
(fighting noises)
(laughing)
He's got frikin' bear pecs!!
Dude!
What-? Did you see how that guy folded??
He was just like–
*snap*
(laughing)
His legs just like– pop up!
He frikin' folds.
It looks like when we made Marvel Rated-R.
It's like that 'cause that's an element that they filmed either separately
or had it in that shot
but needed to re-time it and move it differently.
The Bear's like–
The Bear's... not bad.
The bear in Dark Materials looks better in my opinion.
I think there's a lot of CG bears that look better than this bear.
But also those bears aren't transforming into a half man.
That– That transformation at the beginning though
really reminded me of that werewolf short from Love, Death, & Robots
We gotta talk about Love, Death, & Robots at some point soon
because we have gotten so many comments about that
and it's amazing.
So subscribe if you want to see that in the future.
All right, so we have Ninja,
we have Bear Man,
uh- there's another one
I haven't introduced you to: Rock Man.
And then there's a girl, I don't know what her powers are.
Is that rock man?
No, that's bad man.
Bad man. Gotcha.
Dude, Sloth from the Goonies.
I was thinking the same thing!
This is like– This is practically like watching a Bollywood movie.
Yeah, this is very Bollywood.
(aaaahhhhh)
(AAAAHHHH)
*boof*
The bear takes ONE punch.
It's just barely–
The bear gets punched and the head is down.
There's a plane–
Throw my sword at it,
Giving them ropes.
The bear–
(laughing)
*Mario pause sound effect*
That's a very Bollywood shot right there.
Yeah, they're not TOO worried about physics.
I would be so jazzed up if I was a teenager in Russia and this came out.
Yeah.
Yeah, this is what I think.
I think the effects are good enough.
Yeah, I agree.
They've got some rough edges,
but they work.
They're not really going for photo realism.
I think at the end of the day though
It's like, you got to get your movie made,
and you got to tell your story, and,
nothing in here is distracting from the story.
Like, when I see the bear, I'm like,
"Oh that wasn't really well done,
they really should have done better on that."
It's like– it's CG,
but I've already embraced that half this movie is CG anyways.
Like The Avengers, for example,
That's basically an animated film.
It's an animated film with, like, some human heads cut out and stuck onto the characters once in a while
And, like, this movie is entering that same territory where it's basically just an animated film.
At least a good chunk of it, you know?
In order to really enjoy this movie at all, your suspension of disbelief has to accept that there's a–
Walking man bear with a gun turret.
So it's like, so much of this you've already kind of just tuned out as not real.
Yeah, you're like: "Oh the animation's weird."
It's like: "Well okay, what would a bear fighting a mech really look like?"
(laughing)
ş̛̫̰̥̣̤͍͙͚͓͈̳͇̝̣͔̳̘̲͙̺͕̫͇̤̳͖̣̟̱̗̫͇̜͙̬̗́̅̋̆̿̽̾̀̍̔͛̀͆̈̏͛̏̀̀́͑̆̐̆͂̃͛̿̉̀̓̓̇̽͘̕̕͢͟͜͟͞͠͠͠͞ͅͅc̨̢̨̡̧̢͈̦̤̱̤͚̱̯̰̜͎͓̹̣̻͎̠̰̪̞̲̺̲͚͙̳̻̩͎̤͉̏̋̆̐̈́̽̍͑͐̅̉͗̐̈́̐̏͒͑͛̓͐̌̀̏̌̔͐̒̇̊͑͛̑͂̀̅̕̚͢͟͜͟͜͟͠͝͡͠͠r̨̨̳̮̗̤̹̜̭̦̫͉͓̮̟̩̣̬̗͕͖͔̰̮͕̝̰̪̟̬̦͙͈̦̞̺͉̲͖͖̦̓̌͊̏͊́̓͒̍̀̊̑͒̆̏̀̒͗͗̉̊̿̂͛̍̌̊̐̾̾̅͒̏́̚͘̕̚̕̕͜͜͡͝͡é̢̧̧̦̻̤͉̳͖͖͕̙̺͍̝̮͓͓̭̲̲̟̞̫̜͇̟͚̞̻̞̪̠̹͈̦̳̩̼͕̾͊́̐͆̆̾͛̀͛̄̂̅̿͑̆̄́̀̊͋̾̄͛̂͋̓̓̿̄̈̽͛͆͂͘̕̚̕̚͜͢͜͠͞a̧̡̢̢̡̤̹̞͕̰͈͇̲̣̱͈͇̭̤̫͉̯̝̱̖͎͇̻̭̱͍̝͈̬͙̰͇͎̦̼̟̜͛͗͆̊̅̍̀̉́̆͗͑̓̈̋̇̋̎̍͌͂̋̎͒͆̐̑͗̈͆̒͗͋͋̂͘̚͘̚̚͘̕͢͝m̧̨̢̡̛̛̙̳̹̙̦̯̰̥̬̘͚̳̖̺̤͖̗̹̘͔̬̟̱̭͎͖͎͈̱̜̩̯̹̩͚͚͐͌́̒̓̔̈̾̓̂̓͋́̄̆́̐̌͆́̓͂͒͑̉̄͂̾͐̉́͛̕̚͘͜͢͠͠͞͞͞͝ͅ (big stomps)
This one- has some incredible CG in this.
Yeah. Oh yeah.
I saw the trailer for this one.
Dude, I'm getting some Edge of Tomorrow vibes from this.
Yeah. This is gorgeous animation.
(ŝ̸̠͕c̴͓̘̾r̵͔̯̄e̸̙͛̽̽a̷̝͑m̶̘͈͚̈́)
(S̷̡͈̭̪͓̪͔̘̘̩̞͙̽͊̈́̍̇̎͛̃͐ͅC̴̢͇̜̗̻͕̻͓̫̘̦͍̞̺͈̤̝̽̒̿̑̈́̑̽̌̎̀͆̒̍͠Ŗ̸̨̜̝̖͍͈̮̦̮̲̦̻̱̪̙͇̱̦̺͈̠̭͇͚̜͋̒̅̽̑̂̃̉͑̓͛̏̿͋̌̐̑͗͘͘̕Ȩ̴̡̲̲̘̥͍͎̲̠͙̲̩̱̣̮̭͚̥̜͛ͅǍ̴̢̨̛̦͎̹͉͈͉̲͕̯͕͍̝̥̟̠͙̯̪̜̠̆̿͛͋͊̄̈́̀͐́̄̀̇̍̒̃̊́̓̈́̿͝ͅM̴̱̱̖͓͓̝͍͎̫̣̹̙̀̂̓̄̒̓͛̍͐͗́͂̍̄̒́͂̚̕͘̕͝ͅ)
Wait, what? What? What?
This guy's just doing it?
That's a really good double right there.
That's a really good CG double.
Oh, and then a seamless blend into a person right there.
Back to CG double.
The animation here is on point, by the way.
Do you see how much, like, inertia and momentum he carries with every punch into the ground?
Yeah, and like it moves quick. (Yeah.) It doesn't feel like it's like lagging.
I'm blown away by their detail work, with, like, all the dust on the ground like they are–
Like that robot. Every step is kicking up a lot of dust and dirt and debris.
I mean the thing that really stands out to me is how seamless they're coming in and out of the CG doubles of the guy,
to like the real-life version of the guy,
and, well, what makes that work is really good cloth simulation.
Cloth simulation is tricky because,
when you're when you have an animated character
There's a lot of, like, hidden parts where the– the body intersects with itself
So like if I have a shirt on in a CG character, and I go like this
Chances are, like, my model here and my model here on my character have slightly intersected
Which would make the cloth do an impossible thing where it pushes into the character
So it gets really tricky trying to do a good
full character cloth sims
where you have, you know,
an over jacket than a vest and a shirt and then pants and then a tie
and like you have all these different layers
and it also has to like have the complexity with the amount of wrinkles
Like, if I go like this on my shirt, like–
There's a lot of wrinkles and texture and like, detail in those wrinkles
you know?
Like, to do this, to model this, you've got to put a lot of polygons in my shirt.
And very often what you see is like,
things end up just kind of ballooning out from the character a little bit and being too simplified.
It almost looks like things are made out of felt.
It's like look at how many wrinkles are in this jacket there
Look at the amount of wrinkles in his arms, look at the detail and the wrinkles on his jacket on the back.
He has an undershirt.
That's also a cloth sim underneath the suit jacket.
His pants are a cloth sim.
Everything is simulated.
It's not just a static model.
And then it transitions to the real actor on the ground in the foreground.
Boom. Right there.
A little morph right there.
A little morph cut.
And then right here back to–
Boom! 3D double. Right there.
That's a 3D double.
It's a really good 3D double.
There's also there's a breakdown here.
That's one of the coolest VFX breakdowns I've ever seen.
This VFX breakdown is almost just as much work (laughing) as the movie.
It looks so good.
Okay, so what's up with the spaceship?
Dude, you're about to see what's up with the spaceship.
This is one of the world class, like, destruction shots.
You're gonna see some physics simulations.
You're gonna see some things that would turn your computer into a little crisp burnt piece of toast.
Yeah.
It's like the wall coming down on– (Raining down debris–)
GAAAHH!
(laugh)
Dude, LOOK at that.
Is that not the coolest thing you've ever seen? (So good.)
This shot is so cool. (Look at that!)
I love the color between the orange and blue.
It just keeps going!
Oh, it– Oh, oh, ohhh–
Oh! Look at that bridge destruction!
oH THAT HIGHWAY!
THAT HIGHWAYYYYY
Stadium. Bye.
Ohhh.
This is easily on par with anything coming out of, like, Hollywood.
This is top three... world scale destruction shots of all time.
So is that–
Everything we're seeing here is CG:
The buildings, the– Everything.
Procedural building generation.
Okay, that is Houdini right there.
Houdini's great at doing procedural buildings.
The thing is like when you're building these models for destruction,
they have to be built a certain way for destruction.
You can't just have a cool-looking model and blow it up.
The parallels between rigging a building or, like, a structure for demolition,
really mimics how you would build it in real life.
Because you need to build out, like, the structural elements,
whether it's gonna be wood-based or metal-based.
You want to make sure you kind of have plaster-like walls that break in a certain way.
Is it gonna bend when hit or is it gonna shatter?
Like, there's a lot of details.
You can't just take a model of a building and click a few buttons and have it explode right.
You need to build it from the ground up to simulate properly.
City-
CITY TRAFFIC ALGORITHMS??
(laughing)
That divert traffic away??
They see that–?
The little AI's going "oh avoid this area?"
Like that?
How many computer hours would you guess took to simulate the final assets being used in that job?
I'm not talking about practicing.
I'm talking about what th- actually was used in the final shot.
How many hours of processing power?
Well, it's, that's kind of hard to guess 'cause we don't know how many computers they were using.
Doesn't matter. It doesn't matter. It doesn't matter.
Two computers an hour each. One computer two hours.
Same thing.
Probably like, 20 computers each putting in 100 hours.
I think it was a lot more time than that.
I'm gonna guess 5,000 hours.
Imagine hitting simulate on your PC,
and walking away for 5,000 hours (laughing)
And then coming back and then seeing THAT.
(laughing)
208 days!
Almost a year.
If we used all the computers in the studio,
it'd take a MONTH.
(laughing)
This freaking like–
just throw down like,
"You want to see a demo reel?
I'll show you a mother-f***ing demo reel."
This demo reel's gonna take longer to render than the final shot.
(laughing)
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Thanks for watching, everyone!
Remember, we've got a couple other YouTube channels we'd like you to check out.
We've got the Corridor Cast, where we do our podcast.
And we also have Node, where we play a bunch of games with each other and have great times.
Both in video games AND in live-action. Some you can even play at home, too.
Thanks...!
People...!
Thanks everyone for watching! See you in the next episode.