Todd Vaziri Profile picture
Made star treks, impossible missions, an avatar, 3 transformers, awoke the force, rogue'd one, lasted a jedi, went solo and raised the resistance + a Skywalker.
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20 Aug
"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).

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20 May
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. ImageImage
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17 Dec 19
"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.
"Star Wars: The Force Awakens" (2015), visual effects by ILM. Full ILM credits: ilm.com/vfx/star-wars-…

Animation by Michael Easton, environment by Quentin Marmier & Tim Mueller, ship lighting by Carlos Munoz, fx by Vinh Le, compositing by Todd Vaziri.
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10 Aug 19
"Avengers: Endgame" (2019), visual effects by DNEG.
"Avengers: Endgame" (2019), visual effects by DNEG.
"Avengers: Endgame" (2019), visual effects by DNEG.
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1 Mar 19
We take this movie for granted. What a masterpiece.
Remember how Ebert would sometimes screen a film with an audience and if anyone yelled STOP he'd pause the film and they'd talk about it?

rogerebert.com/rogers-journal…

It would be a real experience to do something similar with "Mad Max: Fury Road".
In terms of action pieces, the final chase has SO MUCH STORYTELLING IN IT. It's almost criminal how well the choreography, cinematography, stunts and editing all work together.
Read 10 tweets
1 Feb 19
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.
Read 6 tweets
5 Jan 19
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.
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15 Dec 18
🕷️ O H M Y G O D 🕷️

"Spider-Man: Into the Spider-Verse" is for real.

It is amazing. See it on the biggest screen you can.

Crazy congratulations to Bob Persichetti, @pramsey342, @rodneyrothman and everyone that worked on this monumental movie.
An interview with "Spider-Verse" visual effects supervisor Danny Dimian, by @vfxblog

Cartoon Brew: ‘If It’s Not Broke, Break It’: Sony Imageworks’ Renegade Approach To ‘Spider-Man: Into the Spider-Verse’
cartoonbrew.com/feature-film/i…
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.

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30 Jul 18
"Rogue One", visual effects by ILM.
Visual effects supervisors John Knoll and Nigel Sumner, animation supervisor @halhickel, Computer graphics supervisor @vickschutz.

Lighting by Sam Wirch and David Meny, compositing by Todd Vaziri.
ilm.com/vfx/rogue-one-…
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.
Read 10 tweets
12 Jul 18
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).
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28 Oct 17
I don’t want to alarm anyone, but I might be making “Predator 2” GIFs right now.
In the proper 1.85 aspect ratio, the stunt rig that launches the stuntmen are barely visible. It was very visible in 4:3 (without the mask).
Gotta admire the editors of "Commando" (1985), just hoping no one notices the two stunt rigs.
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5 Sep 17
Maybe we could talk about "Superman" (1978) this week. I've got a specific shot in mind to dissect and discuss.
"Superman" (1978). This has always been one of my favorite shots in the film. As a kid, I was *certain* how they did it. I was wrong.
I always thought Christopher Reeve was whisked off his wire harness and did a quick-change of costume+makeup before showing up at the door.
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