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  • And the Oscar goes to ...

  • Interstellar.

  • Ex Machina.

  • The Jungle Book.

  • Blade Runner 2049.

  • First Man.

  • Here are this years nominees for "Achievement in Visual Effects"

  • The best way to start, I think, is just by you telling me who you are, what you do ...

  • Okay.

  • Well, my name is Niko Pueringer.

  • I'm one of the founders of Corridor Digital, which is a YouTube channel.

  • And we specialize in doing VFX action-heavy, spectacle-heavy YouTube videos.

  • Cool.

  • So we're here today to talk about the movies that were nominated for an Oscar for Visual Effects.

  • The whole thing with this movie is that it's made to look like it was done in one take.

  • It's not entirely revolutionary and unexplored before, but they're doing more complicated

  • setups and scenes while still trying to maintain that one take look.

  • The challenge they have with that is that these effects need to be invisible.

  • I would love to talk about this long run scene.

  • If you look at the, the behind the scenes shot and then the actual shot of the film,

  • you know, first you might notice like, oh, there's some extra explosions added

  • or there's some extra soldiers.

  • But what you might not notice is things like the tire tracks from the car that they're

  • driving have been removed or the dust being kicked up from the tires.

  • And that's much, much more complicated than just adding another explosion in the background.

  • The challenge with 1917 is doing these invisible effects, but doing them for long takes

  • and then having these hidden cuts be seamless.

  • Because the moment you get one of these little details wrong, you break the world.

  • So I think looking at the scene, what will probably surprise most people looking at it,

  • is that the majority of the scene, the vast majority of it, is 100 percent CG.

  • The stormtroopers, the speeders, the sand, all that kind of stuff.

  • There's a phrase for things like the dust clouds, and the physics and things

  • like thatthe smoke.

  • It's usually referred to as dynamics.

  • That's one of the first, very first giveaways as a CG scene, is looking at the smoke and

  • being kind of, like, painterly quality where it's not quite realisticAnd we're

  • just kinda getting to the point where we can kinda match real life with that.

  • I think a lot of the hype that I heard was definitely around these animals.

  • But you were talking about how it's really setting that impressed you.

  • I'd the biggest thing that stands out to mein any of these environment shotsis

  • the vast number of actual objects on screen.

  • Like this, this shot of Mufasa and Simba walking through the grass as we focus away from the

  • spider and onto themthere's thousands of blades of grass in this scene.

  • There's leavesthere's hundreds of leaves on the bush from the camera, and so all of

  • these things need to have an incredible amount of detail.

  • That's what stands out to me as being incredible here.

  • Yeah, the animation is great.

  • The rendering?

  • Impeccable.

  • The lighting simulation?

  • Great.

  • Wonderful.

  • You know, all that's awesome.

  • But the fact that all of it comes together cohesively?

  • That's way crazier to me.

  • So there's a couple things about Avengers thatthat are really ...

  • impressive.

  • One of the first ones is the, the time travel suits.

  • All those suits that you see them wearing, those are completely CG,

  • and they look completely realistic.

  • You cannot tell that they are fake.

  • They replace the entire body except for the head.

  • And that's insane.

  • Why would they do that?

  • Well, it takes a lot of time to construct these costumes for these characters, and it's

  • only being used for five minutes of the film.

  • Is there anything like particular on the suits that made them stand out to you?

  • So I was scrutinizing the suits when I watched this scene again and the only things that

  • really give them as being CGand you have to really be looking for it and know

  • what you're looking foris when they're interacting with something real.

  • So a suit really and only interacts with two real things.

  • The neckline of the actor and the feet on the ground.

  • You have to fake the shadow from the suit being cast on the ground.

  • And there's a lot of nuances to that.

  • But ... Nobody's analyzing the neck lines.

  • Right.

  • You know, to me, out of all the films I've been nominated for an Oscar here for Best

  • Visual Effects, The Irishman has the most unique, brand-new technology.

  • The reason they're going through all this trouble ... is because they want to tell a

  • story of a character throughout his entire lifeand they need to get him at his,

  • you know, when he was 60, when he was 50, when he was 40, when he was 30.

  • How do we let this guy shoot a movie like this with actors not wearing any markers or

  • tracking suits?

  • And yet we somehow need to capture a full 3D-model of the face for every frame of the

  • moviebasically a full real time 3D motion capture.

  • They just lit the scene with infrared lights from the "witness cameras," they're called.

  • So they're seeing the scene with perfect lighting.

  • And we can't see with our eyeballs, the actors can't see the infrared light.

  • The main camera that they're filming the scene with can't see the infrared light, and it

  • was really, really smart.

  • They did encounter one problem, though, and that is: old cars.

  • Old car windshields and glass, they used to use lead when they'd make the glass.

  • Lead doesn't let infrared light through.

  • So, they actually had remove all the windshields from the cars at any time to see a car in

  • the film that windshield, the reflection of the windshield,

  • that's fake.

  • Do people really care about this award?

  • You know, These are just five films, and a good chunk of them are just kind of doing

  • the same techniques we've already done.

  • In fact, when comes to visuals, there's so much going on in the spaceevery year

  • you're building off of the knowledge and the tools that you've gained from the previous year.

  • And so these, these more advanced techniques that they're using for these movies, you know,

  • it's lending the visuals to looking a lot more photo real ...

  • but we've seen it before.

  • The Oscars, it's good recognition, but there is so much more that drives an artistat

  • least a visual effects artistoutside of hoping to win an award like an Oscar.

And the Oscar goes to ...

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一位VFX藝術家對5部奧斯卡提名電影的反應。 (A VFX artist reacts to 5 Oscar-nominated movies)

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    林宜悉 發佈於 2021 年 01 月 14 日
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