"Mission: Impossible - Fallout" (2018), cinematography by Rob Hardy
This shot is compelling on many levels. It takes its time, its classic composition, its deliberate moves mirror the emotional journey of Ethan and Ilsa's relationship. But you don't have to be a film scholar to *feel* that something special is going on here.
Currently cameras can not see detail inside of dark shadows and also decode super-hot surfaces hit with sunlight simultaneously. It's most obvious when the camera moves from interior [dark] to exterior [bright] (or vice versa).
Let's talk about an explosive shot from "The Blues Brothers" (1980).
First, here's the whole sequence.
As a kid, I really thought they "just" blew up a Chicago building for this shot. In reality, various parts of the city were shut down to film the incredible car chase at the end of the film. But this? A brilliant visual effects shot by effects legend Albert Whitlock.
There's scant information about how this shot was accomplished - from what I heard, Whitlock printed a photographic frame of the street onto a relatively simple foam miniature.
A real frame of film from earlier in the sequence, and the first shot of the vfx shot.
"Star Wars: The Force Awakens" (2015), visual effects by ILM. Vfx supervisors Roger Guyett & Pat Tubach. Full ILM credits: ilm.com/vfx/star-wars-…
Animation by Paul Kavanagh, environment by Quentin Marmier, ship lighting by Carlos Munoz, fx by Vinh Le compositing by Todd Vaziri.
The biggest challenge for this sequence was getting the right exposure balance--making the flight through the Star Destroyer feel dark, scary, and claustrophobic while still having bits of sunlight blast through holes--and making it feel as photographic and readable as possible.
It’s time for another edition of your favorite movie game show, “Wait, That Was Always There? No, Way!”
Here’s a scene from “Star Wars”.
You see it, right?
I never noticed this person behind Han. And it’s been there the entire time. And it doesn’t matter there’s a crew member clearing the edge of the set—in the editing room Marcia/Hirsch/Chew/George probably liked the pacing of this shot with this particular in-point.
I’m not going to fall for a banana in the tail pipe.
Holy shit what a great fucking night. Sorry about the swearing.
Visual Effects Branch Academy Governors John Knoll, Craig Barron and Richard Edlund talk to the “Solo” visual effects leadership team Pat Tubach, Neal Scanlan and Rob Bredow (Dominic Tuohy not pictured) at the Academy VFX Bake-Off.
I hope Bob Persichetti, @pramsey342 and @rodneyrothman are prepping a short intro video for the home release of "Spider-Verse" asking viewers to turn off motion smoothing. I can only imagine how the "feature" will affect the film.
In this mini-sequence, we wanted to build a progression. In this first shot, the "starfield" behind the ship blends with the ship's lights in shadow, to create a sense of unease, as if the ship is appearing from nothingness.
The "starfield" behind the Star Destroyer: we hand-painted the lights on the Death Star, to give us complete control over the visual balance between a believable, geometric Death Star light pattern and the suggestion that it could be an ordinary starfield in the background.
It's time to talk about one of my favorite visual effects shots of all time. Not only is the shot well-executed & designed, it fits perfectly within the edit and plays an important storytelling role. It's the last shot of this sequence from "Indiana Jones and the Temple of Doom".
I remember hearing gasps from the audience when this shot appeared. After going through the amazing mine car chase, our heroes thought they were steps from safety. This wide shot neatly embodied the "what are they going to do NOW?!" aspect of swashbuckling serial adventures.
As a young fan of the movie, it took me some time to understand that this exaggerated shot could only be accomplished with visual effects. One classic giveaway of expansive VFX shots was a locked off camera (where you could still see exposure + registration mismatches).