Session Five: Visual Effects, Special Effects and Virtual Production
- Squibs and blood packs
- Rubber hose in the nose
- Overlap with makeup, etc.
- Guns (Take responsibility)
- Sarah Jones
- In-camera effects
- Forced perspective.
- Glass paintings and hanging miniatures
- Physical models
- Jamie's telephone poles
- Matte paintings
- CGI and compositing
- 3D vs. 3D
- Previsualization (and using storyboards and previs to help imagine the scenario)
- Also pitchvis, technical previs, postvis
- Still a lot of use of "in-camera" effects, often combined with computer-generated elements afterward
- Working on greenscreen or in an incomplete or false reality.
- Sets, and often scene partners, may be imaginary
- Working “alone”
- Little to interact with.
- Demo of forced perspective with mismatched eyelines
What happens to all that footage in post?
Demo of compositing using a clip from our scene
Virtual Production and cutting-edge models of filmmaking
- Performance Capture
- Emphasis on body motion, body awareness, body training
- Special suit/gear
- Virtual Actors
- Where does the actor fit in all of this?
- Short account of the AMPAS panel "Acting in the Digital Age"
- Return of "blackbox theater "
- Tom Hanks on The Polar Express: “As actors, we were able to imprint our performances onto the story as opposed to going into the recording studio and providing voices. It was fun but it was also incredibly challenging, albeit in a good way. Because of the sensors, everything you do registers so you cannot afford to make a mistake. On the other hand, having the momentum of shooting for 10 or 15 minutes at a time and getting it all like one continuous moment, one fell swoop, is as free as I’ve felt as an actor. It was like being in theater again. If we could imagine it, we had it.”