Boris Lutsiuk’s Post

visual effects and special effec to an amateur, they might appear to be one and the same thing. In spite of everything, special effects are visual and visual effects are special. But even though what people think about these two terms, they are far from interchangeable. No doubt, both of them speak to a diverse aspect of contemporary filmmaking and television production. VFX Visual Effects made the way for filmmakers to achieve the same effects as on-set SFX during post-production. They could incorporate elements, like explosions into their scenes. VFX can be categorized into Visual Special Effects and Digital Effects. Some Examples: 3D renderings, matte paintings, computer-generated images, animations, matching moving, etc. SFX Ever wondered the crazy life of a stuntman? If so, it’s SFX (Special Effects) you are thinking of. This is exactly where all those effects that you see in movies are produced in real life and captured on camera. Before the introduction to film editing software, special effects like these were primarily used for producing the outcome on cinema and TV screens. SFX seem to be very different, which can be pretty surprising. They are clever uses of props as well as materials in films and other types of video content. Special effects are on-set visual effect techniques. Also, SFX comprise of skills like animatronics. Some Examples: Prosthetic makeup effects, dolly zoom, miniature effects, and practical effects (to name a few) are examples of special effects (SFX). #vfx #visualeffects #animation #cgi #compositing #art #aftereffects #foundrynuke #blackmagicfusion #motiongraphics #rotoscopyanimation #vfxartist #films #motionpicture #movie #advertising

Movies are magic! You sit in the comfiest place with a bucket of popcorn, wearing your favourite socks and your favourite t-shirt describing you as the cinephile on a Friday evening in December. You tune to your favourite OTT and voila! You're transported to a world that merely has any connection with yours. But you still feel each frame of the motion picture. The characters, the world, the story, and finally, the humongous twist before the satisfying ending. You laugh and gasp and feel astonished by the end of it. For instance, We all felt how devastating the Titanic sinking was. Or the relief when Thanos vanished into thin air. We instantly connected with Carl and Ellie and their dream from Up and couldn't believe when toys came to life in Toy Story. But how do they make them? You may scream, 'VFX' and 'CGI'. But how do they create VFX or CGI? Whether it's a man bitten by a spider, a talking chimpanzee, or even a fire-breathing dragon, filmmakers use tools to bring the wildest imagination to life. Read more to find out the tools filmmakers used to make movies that shattered the global box office earning billions of dollars. 

#TransformingDreams into Visual Reality: A Graphic Designer's Journey into the Dynamic Realm of VFX. My debut showreel marks the beginning of a new chapter in crafting mesmerizing visual effects. #vfxartist #vfxbreakdown #vfxindustry #vfxshowreel #visualreality #visualeffects

Downplaying the role of VFX is like downplaying the role of the Director of Photography. VFX plays an essential part in the production of all recently celebrated, awarded, and box office record-breaking feature films. Visual effects artists are artists. Their work plays a crucial part in the storytelling, overall look and feel of any film or show. So-called ‘bad’ VFX are mostly due to unrealistic schedules, insufficient budget or lack of creative vision. VFX adds that special magic touch we all need once in a while, the same magic that had me believing Superman could save Loise by making the earth spin backwards.* *(Yes, I’m aware this was mostly practical FX) #visualeffects #film #tvshow #streamingtv #vfx #vfxstudio #vfxartist #vfxindustry #vfx

A few months ago, I foolishly argued on LinkedIn that Oppenheimer might have actually only required the credited VFX team of 27 people, given that Nolan's recent films featured an ever-decreasing number of VFX shots (Tenet only had 300) and most of the work was likely to be "invisible" 2D effects (i.e. removing signs of modern civilization, of which there wouldn't be much in the New Mexico desert). I also said that Nolan's "no CGI" assertion wasn't necessarily entirely false, given his preference for using IMAX film throughout the pipeline meant circumventing the digital stage altogether, including VFX, on as many shots as possible. A lot of people vehemently disagreed with me and pretty soon I was proven wrong on both counts, when it emerged that DNeg had credited 164 artists on their website. Fair enough. If I'd realised quite how disparaging of VFX Nolan had been, or noticed that most of the credited VFX team weren't actually artists, I perhaps wouldn't have bothered arguing that such a small team on such a big show was even possible, though I still don't think it's all that far-fetched. More recently, the Japanese production that just won the VFX Oscar has claimed that they produced 610 shots for Godzilla Minus One with a team of 35 people in 8 months. They were apparently able to achieve all this in such a short timeframe because shots were well planned out in pre-production and the director was also the VFX Supervisor. Of the 35 artists, 8 were credited as Compositors, though 2 of those are credited as FX artists as well. Regardless, that's less than 2.5 days' comp time per shot; shots that not only involve removing traces of modern civilisation, but greenscreen keying, matte paintings, fluid sims, set extensions and a giant CG creature destroying city-wide environments... finalled to a standard good enough to win the Oscar for best VFX. I've yet to see anyone question these claims. Directors downplaying the work of VFX artists is a contentious issue that naturally provokes an emotive reaction from the VFX community and that obviously had more to with the response I got to my comment than the credibility of Nolan's disingenuous attempts to market Oppenheimer as having "no CGI". But it strikes me that the only reason people aren't questioning the makers of Godzilla Minus One's far more tenuous claims is that they embellish the capabilities of the VFX artists rather than diminish them. Obviously, it's worth celebrating that they were able to achieve such impressive work, with such a small team, through innovative ways of working and that the director is championing the 35 VFX artists' significant contribution to the project. But if so few artists really did deliver all the post- in just 8 months, then they almost certainly didn't leave the office much in that time. That seems to me like far more of an issue than whether or not VFX artists are getting enough recognition from studios and directors for all their hard work.

#throwbackthursday This week's Throwback Thursday ventures back to 2016 and features a Dairylea ad with VFX by our Senior VFX Artist, Tim Davies. It was the first TV ad for Dairylea after a three-year hiatus. Check out the breakdown showing all the effects Tim crafted followed by the final film. Tim's insights: "The challenge on this job was to recreate the fantasy world of knights, dragons and burning castles. We worked closely with director Phil Lind @ Mad Cow Films to twist the in-camera backdrop of Cape Town SA, into a battle-scarred landscape of a castle laid siege by deadly dragons, with only our two hero knights to save the day. "We were involved early on at the script stage, where much discussion was had about dragons! Rather than hugely expensive photo-real CGI monsters, we developed dragon “shadow” test shots using stock landscapes to help realise how this, coupled with sound effects, could be just as effective at telling the story. "The opening scene of the torched castle in the distance was also in development before shooting. We tried out many options and styles of castle, also developing how battle-weary it should be. "Once the entire performance of the knights had been rotoscoped by our team, the camera movement was tracked for each shot so we could place our digital matte paintings in the distance behind them. "The dragon shadows were created in Flame by digitally recreating the terrain in 3D and then using low-resolution 3D dragon models to cast shadows from a virtual light source onto the ground. This setup meant we could keep tweaking the timings of the scene right up to delivery day! "The final scene, where we reveal the two boys riding down the hill, was also developed before the shoot. Finding a location shot for the village at the bottom of the hill was relatively simple. I knew a place near me on the South Downs, which I thought would be ideal, so I grabbed the dog & my camera.. and once the fog had cleared, with some heavy photoshopping, camera tracking, adding trees, birds and smoke.. it was perfect! "The only hurdle left was for us to set the distance of the village just right to conform with regulations concerning how far the boys appeared to be from adult supervision. "This was a great team effort involving every department. The script was great, and it featured spot-on performances. It all came together so well." Client: Mondelēz International Brand: Dairylea Agency: BMB Agency Creatives: Joe Fitzgerald and Kim Hutcheson Prod Co: Mad Cow Films Dir: Phil Lind DOP: @Timothy Pike Edit: @Nick Armstrong @ Cut and Run Grade: Mark Horrobin VFX: Tim Davies #tbt #throwbackthursday #vfx #visualeffects #postproduction

Do you remember the first time you saw a before-and-after of VFX color grading in your favorite film? It's an unforgettable moment! VFX color grading can literally be a jaw dropping moment. 🌿 Color grading not only enhances your cinematic experience, but also creates a storytelling experience for you. It enhances the aesthetics and makes you want to stick to your chair with eyes glued on the screen! Like what we shared? Follow White Apple LLP to know all about VFX, Animation and Graphics. #vfx #colorgrading

Check out this VFX breakdown for work we did with Servant. We did the motion control integration along with 3D camera tracking to shoot the practical background plates on fire. Julian Hermannsen operated the Bolt robot for The Garage Motion Control and managed the 3D camera tracking using the MRMC tracker app. VFX supervisor was Ed Mendez with PowerHouse VFX. The final result and VFX work are awesome! We love working on integrations between Practical effects and CGI. https://lnkd.in/e7iEV_au SPOILER ALERT – if you haven’t seen the show and don’t want to have the ending ruined, stop reading now! Also, the final video sequence at the end is quite graphic, so if you’re sensitive, please be aware.

Have you ever questioned how movie magic manifests itself on a large screen? Curious about who created the stunning visuals that take us to unexpected sites? VFX Artist: An Insider's Guide To The Art Of Visual Effects is your gateway to the captivating world of #visualeffects. VFX or visual effects artists are specialists who create out-of-the-world and impossible-to-film digital assets like scenes, #characters, #environments, stunts, and other forms of imagery. Read to know more 👉 https://lnkd.in/dS5mhwFB #gamedevelopment #gamedevelopers #gamingcommunity #invogames #vfx #vfxartist #gamedesign #gameart #gamevisuals #gameplay #gamemarketing #gamingindustry #gamedevelopmentservices #gamingservices

How Movie VFX Are Made: The 8 Steps of Visual Effects! VFX, or Visual Effects, involves using computer-generated imagery (CGI) to enhance or create visuals in filmmaking. It includes blending CGI elements with live-action footage to achieve realistic, fantastical, or stylized effects, contributing to the visual storytelling in movies and other media. Certainly! Movie VFX (Visual Effects) is a complex process that involves several key steps. Here's a breakdown of the process in 8 steps: Tracking: Analyze live-action camera movement for CG integration. 3D Modeling: Create 3D models of objects or characters. Rigging: Add a virtual skeleton for realistic movement. Animation: Bring 3D models to life with realistic motion. Materials/Shading: Assign textures and materials for realistic surfaces. Lighting: Set up virtual lights to match live-action conditions. Rendering: Process final images based on 3D elements and lighting. Compositing: Integrate CG elements into live-action footage for a seamless result. View the LightArchitect video that explains how movie VFX is created, detailing the 8 steps of visual effects! https://lnkd.in/g46fsADQ