oh so cool every shot has a real element
to it this is the actual set right there
what yeah
what is that real deal that's the real
that's that's real yeah John's movie
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learn how you can get your first three
months free welcome back to another
wonderful episode of VFX artists react
what are we talking about today Nico
today we're gonna talk about some really
cool stuff such as how do you make CG
look real also why does that seem she
look so bad
alright let's jump in oh is this a
Supergirl clip I haven't seen it yet
you've never seen Supergirl hahaha on
dude that's how you intrude if that's
how you intrude that's not bad not bad
wait you're trying to do CG heads that's
a shame Oh
Supergirl was the construction worker
the whole time limited budget guys
limited budget don't be so sure
this definitely looks like amateur after
effects effects with their biting off
more than they can chew first off a full
CG head with the tops the lips you're
biting off a lot there by the way I
think they use the same shot twice here
go to go back a little bit further
before the woman just randomly
transforms so that reaction that
reaction yeah they're hiding it by doing
a push zoom on one of them there it is
both
that's just like classic bad physics
that you sometimes get when trying to do
it real like that it's like she punches
them hard enough for him to fly 20 feet
over to a wall slowly and it takes him
like an hour to get there well so that's
shouted them on the glass like that just
looks rough just looks like blue Swiss
cheese how would we have done that
differently the bloom yes or the blue
glows yeah like there's no blue on the
actors like there's no like blue light
really being cast in them particles are
the thing that I would want to add here
you can even drop in like a literally a
fire embers element and just color it
blue and just have like a little red
muzzle flash
I'm all for acknowledging you know short
time crappy decisions from the producer
and stuff like that
I can't excuse bad muzzle flashes it's
got like the m4 muzzle flash on the
front where the gas expands out the side
of the muzzle break it's like really
tiny it looks it looks ridiculous
she's clearly just jumping onto like a
crash pad in front of a green screen and
they're just taking her and her out to
the left you can see her hair go
straight up yeah as she accelerates like
yeah however just not had her accelerate
I would have just let her continue
diving cut in the next shot she's
spinning around now so resting don't
worry Hillary yeah
don't accelerate and honestly the
director of the show shouldn't have shot
this like this at all to begin with
every single foot VFX shot is locked off
they're going with like the easiest way
they could approach these shots but it's
really just making them look really bad
cuz you have nothing covering up your
weaknesses like this shot of her close
up like that that's a sweet yeah this
might have been the case where it's like
I've heard that the effects shots need
to be locked off when you shoot them if
it's not locked off it's gonna be way
more expensive and taking a lot more
time is probably what they're thinking I
think you're totally right I know people
who work on shows like this and it's
usually just like literally the tiniest
team
it was probably legitimately one person
who probably worked on this whole thing
in probably two or three days take it to
see mr. Murdoch let's stretch your legs
okay next piece we're gonna look at the
tit Nick going down in the ocean iceberg
straight ahead iceberg straight ahead
so this entire scene is CG by the way oh
it's not the only CG and Titanic is the
water and the occasional extra people on
set okay the sky like those are the
stars dude that's awesome those
practical effects are great there's
already crazy things happening all over
the place like for example is that shot
of the iceberg passing by the boat
you'll notice there none of the ice that
lands on the boat comes from the iceberg
it's all poured off the side there it
looks super legit everything is real
there except for the iceberg in the sky
cuz that iceberg is actually a miniature
that's been filmed separately
it looks flawless the practical ice
bends the ladder it really brings
everything together yeah so how do you
do this shot take note you exist in an
era where the only CG the only fully
rendered images you can do is of maybe
some extras walking around alright so
they're real and the the edge of the
ship that they're touching is real the
ship extending into the background I
imagine it was probably an actual like
films miniature is miniature and they're
filming this scene with a motion
controlled camera yeah they're doing the
shot again with the motions scaled down
for the miniature and this stuff is all
over the place they would actually film
the shot in real life for the person on
set with the motion controlled rig and
then scaled down that motion and film
that same motion again on the miniature
and just stick the two on top of each
other so the actual visual effects part
the actual compositing is really easy
yeah it's a green-screen key set your
footage on top of the other one and all
the other work is done for you the crazy
thing for Titanic is they built a set
that was basically the full-size set of
the ship is only one side of it the
other side is all just scaffolding this
is the actual set right there which they
built to be able to slightly angle into
the water what yeah what this is a real
deal that's real that's that's real yeah
how it was blood drawn this movie two
hundred million dollars which is the
biggest budget back in the day yeah so
there's an interesting problem they had
to solve a Titanic with all your
miniatures going into the water you get
to start reading the scale of the water
we all kind of know how big waves aren't
water droplets are yeah they actually
needed really really really big
miniatures to actually sink into the
water and have it look correct they had
a miniature as big as one-sixth Wow I
think they go down to like one thirtieth
I'm not mistaken so this is a shot where
he's on a green
we are looking at a miniature because we
can see the front of the ship because we
can see the friendship and also all the
water work and the reason it looks so
real is because it Israel it's just a
miniature that voit right there that's a
full-size set that they're sinking into
the tank
this is inspiring watching this man this
kind of movie wouldn't get made any more
the fact that they're doing so much of
this stuff practically another crazy
model shot right here this is all model
the whole thing they actually do this
twice they did it once they rebuilt it
over two weeks and then did it again Wow
all those people fake all people in the
water think this is one of the first
movies they had with motion capture
extras and went out and they would do
mocap sessions all the base stuff we
take for granted that's like for free to
grab online today didn't exist back then
and they had to go they had to capture
all of it and they'd stick all those
little 3d people all over the deck of
the ship the visual effects in sight
Anik are really not that complicated the
magic and Titanic it's them going out
and getting the hundreds of people in
the water in full costume and getting
the full modeler ship and sinking it in
the water tank like that's the hard
stuff and that's the stuff these days
that they don't do anymore because all
that hard stuff is now done with CG but
that's that's that's tough man because
this definitely has a sense of realism
that you don't get with CG this one's
for James Cameron oh oh this video looks
familiar
no this footage all too well I'm sure
that's not real well we are Joe Rogan's
not Joe Morgan thought that was real did
we think Joe Rogan but dude to have
Neill Blomkamp Joe Rogan and hideo
kojima all see this video i can die
peacefully now it's a more ambitious
version of the previous Boston Dynamics
video we put out back in June hi we
wanted everything to be as real as
possible you know like the whole thing
about this it doesn't work if it doesn't
look and feel a hundred percent real so
go check it out in the corner channel if
you haven't already we have lots of cool
shorts like this one usually visual
effects based hence why we're here two
initial effects artists react there's
also a side-by-side comparison of both
before and after of this video so you
see Clint in his suit and his chrome
ball helmet getting into the panel
rolling it up so go check it out when we
link someone
I tried to help you walk away now you're
making me do this
wow this is nuts
so I was really surprised to find out at
this scene the whole scene is all CG
100% see 100% now all your friends have
to die
whoa I thought it's an Odin dragon suit
okay what Quinton Beck is Mysterio in
the comics he is a VFX artist what yeah
as a homage to that he actually is
wearing a real eylem like motion
capturing as his on-screen costume is an
actual real mocap suit so spider-man far
from home is one of our most requested
reactions and if he has of any of the
movies TV shows etc you'd like to see us
react to please leave a comment below it
it's great inspiration for us so if you
are the VFX artist who worked on this
shot this sequence would be your VFX
reel right yes I mean this was probably
the coolest moment of the entire movie
it was a company called Framestore so in
order to break down the sequence there's
actually not a lot to break down it's
just it's all CG and the others
different you know some different
techniques going in but this is where I
would like to actually take a moment and
delve into what makes this CG look real
how do you take a sphere sitting on a
plane how you bring it up to this level
where it looks like a sphere that could
be sitting in this world well the first
thing you got to do is set up your
lighting I would grab an HDR I hide I
Namek range image an HDR eye is a three
and sixty degree photo of a real
environment so you're getting real light
samples the HDR provides both the color
of the lighting in the direction of that
lighting and the intensity of that
lighting from every possible direction
so the next thing we want to do this
fear is you'd want to give the surface
in color the first thing after you
actually identify the colors you
actually have to give a physical texture
how do the grooves reflect light in
different directions so for that we'll
use what's called like a bump map or a
normal map and that'll actually tell the
render engine the sort of terrain that
sort of object will have so like a
wooden sphere will have like little
grooves between each of the wooden slats
and that's like the micro detail that
would be way too hard to go in and do by
hand so from there I determine what is
reflective and what absorbs light
completely just like all these other
maps that we're listening off this would
be a black and white map whatever's
black is a hundred percent reflective
whatever is white is not reflective at
all and there's a lot of grey in between
there technically every surface around
you is reflective even the ones that
seem rough the only difference between
that in a mirror for example is that
mirror is taking the light rays and
bouncing them off at sharp angles
whereas a rough surface takes light ray
and scatters them in a bunch of
different directions and so having your
color channel good HDRI lighting or
realistic lighting a reflection map
detailing how glossy something is and
normal map / bum maps are even
displacement maps to give a surface its
micro textures and then rendering all of
that in a physically based rendering
system using ray tracing and good
simulation of light rays just from a
pure rendering perspective that's how
you make something look real and that's
like the foundation of what's going on
in these scenes for spider-man the
systems that you do all that and just
one go and have everything work are only
a few years old and that's why you're
kind of seeing these movies just
starting to hit these photo real let
edges that they're getting - I think
2019 marks the year where CG let's cross
the line into photo realism and we
cannot tell the difference
sames doing cool blood sim over there
it's really amazing we're looking the
wrong way because Sam's working on
something right now we're doing Star
Wars rated-r specifically the order 66
66 so expect that video very soon
subscribe to not miss it you know I I go
to sleep every night wondering the same
the age-old question who the heck Framed
Roger Rabbit Who Framed Roger Rabbit was
groundbreaking in that it was the first
movie not to incorporate cartoons in a
live-action it was the first movie to do
it with camera motion the camera is all
over the place
panning around doing crazy moves and
interacting with people all over the
place
[Music]
notice the serving trays are real by the
way in fact lost the cartoons are
holding real things real pianos there
and the first time ever Donald and Daffy
on screen at the same time in order to
blend these worlds it was this
insistence on characters interacting
with real objects scotch on the rocks
how did they film those like real
serving platters but with cartoons there
I know the answer that question well
tell me the answer and you know the
answer is it like a skinny stick off
frame that they're moving it around with
Clint's pretty clothes this whole set is
built raised off the floor and
underneath it
our people of sticks with the serving
trays on them walking along and the
sticks are just through little grooves
there puppeteering it from beneath the
set oh okay and they're not painting out
the sticks they're just covering up the
sticks with the cartoons
[Music]
so here cartoon car right how are they
doing this oh he's sitting on something
that steering wheel wasn't even attached
to anything I mean he's definitely on
some sort of little buggy he is actually
and what's basically a little like ATV
yeah they like rigged up and it's
actually a stunt driver sitting in the
back of it doing all the driving can't
he's just holding on for dear life in
the road
yeah once he little touches everywhere
from the newspapers being like kicked up
yeah to like the dust from the brakes of
the car yeah like they just they go the
extra mile to try to always incorporate
these cartoon objects into real life I
haven't interact with something real
alright so here's a great example of all
the things going together the chair move
cartoon just moved the chair the real
gun by the way the cartoon is holding
that gun is it another gun on a stick
is it a gun on a stick it's actually a
puppeteer above with a gun on wires just
puppeteering it along and mimicking all
the bouncing that's a gun on a stick
right there but also they can push it
into his face that little shadow on his
hip I think is the armature for the gun
whoop see as it rises up the gun stuff
happens and then the water spraying out
of Roger rabbit's mouth so that's a
little tube coming up that he's
pretending to push down that has a
little hose on it watch the handcuffs on
Bob Hoskins wrists stiff they're stiff
it's actually Bob Hoskins doing the
public hearing himself with his wrist
yeah every shot has a real element to it
mm-hmm that's awesome the compositing
here this is a computer compositing
where you're just taking the layers and
adding them in your computer you're
literally taking the background film and
the hand-drawn film and taking both
those and shining light through that
onto another piece of film yeah the
final exposure oh dang so cool leave a
comment down below suggesting what we
should look at next and maybe uh rip a
new one is that a booger I try to say is
that you guys should leave a comment for
any TV shows or movies that you want us
to react to both good and bad it's great
inspiration for us don't forget to
subscribe to the channel by the way
because we have a lot more cool stuff
coming out subscribe hi my name is Sam
Gorski how
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