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  • Locked thread
Red
Apr 15, 2003

Yeah, great at getting us into Wawa.

Steve2911 posted:

Any visual effect could look good if done well. CGI is super good and appropriate in stuff like District 9, Lord of the Rings and Life of Pi.

Avengers 2 sucked, but the CGI was great. And Hulk looks tremendous.

In fact, having seen the current CGI Hulk, I have no problem with good and detailed CGI.

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Huzanko
Aug 4, 2015

by FactsAreUseless

Steve2911 posted:

Any visual effect could look good if done well. CGI is super good and appropriate in stuff like District 9, Lord of the Rings and Life of Pi.

Right. That's why I said that people who "hate CG" actually mean to say they "hate bad CG." The sad thing about a lot of good CG is that you don't notice it because it's good - excepting, of course, crazy creatures and robots and such.

I think I read here somewhere that part of the reason some CG sticks out like a sore thumb is because they need to shoot for 3D and that rendering for any CG needs to basically be doubled. Anyone know if that's true?

RBA Starblade
Apr 28, 2008

Going Home.

Games Idiot Court Jester

Parachute posted:

Was there some (now) unofficial book or something that said Plagueis was a Muun? I swear I remember seeing something about that on the wiki.

Did any Kerbals crash into him? :haw:

Beeez
May 28, 2012

Red posted:

Yes, and Wookieepedia has a lot on information on Palpatine and Plagueis' relationship, and the 'Grand Experiment', but - I don't know that any of that is considered canon anymore.

http://starwars.wikia.com/wiki/Darth_Plagueis

http://starwars.wikia.com/wiki/Grand_Experiment

They also worked together to create the clone army under Syfo Dias (sp?)'s name, and on and on.

Edit: Palpatine's wiki page has a ton of poo poo.

I'm actually glad this isn't "canon" anymore, because it takes all the mystery out of it. Not the mystery of whether Plagueis was Palpatine's master, that's pretty much a given, but we didn't need confirmation of who or what created Anakin, nor did we need to go that in-depth with Plagueis and Palpatine's relationship. It also does weird stuff like reveal that Maul was an official Sith for all of five seconds because Plagueis lived into the time of TPM, it has Palpatine not actually kill Plagueis in his sleep, etc. We knew very little about the ins and outs of the Sith during that time frame and it still couldn't get the few details we did know right.

Guy A. Person
May 23, 2003

Parachute posted:

Someone posted this already, right?

https://www.youtube.com/watch?v=xW2xhBSfFps

The best(?) CGI

This is real cool although the first comment echoes my own thoughts:

quote:

Video about visual effects, uploaded in 240p

stev
Jan 22, 2013

Please be excited.



Guy A. Person posted:

This is real cool although the first comment echoes my own thoughts:

To be fair it was uploaded in 2008 so that was pretty cutting edge.

S.J.
May 19, 2008

Just who the hell do you think we are?

Beeez posted:

I'm actually glad this isn't "canon" anymore, because it takes all the mystery out of it. Not the mystery of whether Plagueis was Palpatine's master, that's pretty much a given, but we didn't need confirmation of who or what created Anakin, nor did we need to go that in-depth with Plagueis and Palpatine's relationship. It also does weird stuff like reveal that Maul was an official Sith for all of five seconds because Plagueis lived into the time of TPM, it has Palpatine not actually kill Plagueis in his sleep, etc. We knew very little about the ins and outs of the Sith during that time frame and it still couldn't get the few details we did know right.

If anything with a Disney stamp is canon, then we know that Palpatine was Plagueis' apprentice and Palpatine killed him in his sleep. Thank you, Star Wars tabletop rpg

Ass Catchcum
Dec 21, 2008
I REALLY NEED TO SHUT THE FUCK UP FOREVER.
Anyone think that theory about jar jar being a sith has any truth to it?

Huzanko
Aug 4, 2015

by FactsAreUseless

rear end Catchcum posted:

Anyone think that theory about jar jar being a sith has any truth to it?

lol no

homullus
Mar 27, 2009

piratepilates posted:

Stay tuned for the special edition releases! The movie J Jabrams originally wanted to make!

I would be pretty darn amused if the video release of TFA did not match the theatrical one and they refused to release the theatrical version ever.

Phylodox
Mar 30, 2006



College Slice

rear end Catchcum posted:

Anyone think that theory about jar jar being a sith has any truth to it?

no lol

RBA Starblade
Apr 28, 2008

Going Home.

Games Idiot Court Jester

Force Jive is the most powerful of all dark side powers.

MrMojok
Jan 28, 2011

The use of CG in Zodiac is pretty stunning. I was shocked the first time I saw that video, I had no idea there was that much.

e: I don't mean this as a bash at the prequels or TFA or anything. Just an observation about a great film.

Beeez
May 28, 2012

S.J. posted:

If anything with a Disney stamp is canon, then we know that Palpatine was Plagueis' apprentice and Palpatine killed him in his sleep. Thank you, Star Wars tabletop rpg

Yeah, I was pretty sure it's been confirmed somewhere but lots of people in this thread were acting like only "Legends" sources had ever confirmed it and I don't know enough about all the different "canon" sources to disagree. But looking at Wookiepedia, even their Canon Plagueis section acts like it's a definite thing, and I think it was more or less impossible that they weren't going to confirm that at some point, anyway.

Neurolimal
Nov 3, 2012
As far as replacing matte paintings go CGI has done a fantastic job complimenting or outright replacing it, a good smaller scale budget example would be Monk; despite having a ton of outdoors scenes they very rarely actually went outdoors (because NYC is apparently so expensive it's cheaper to fake being on a street talking than just having a dude walk down a street). You'd never know this if you weren't told though.

ungulateman
Apr 18, 2012

pretentious fuckwit who isn't half as literate or insightful or clever as he thinks he is

rear end Catchcum posted:

Anyone think that theory about jar jar being a sith has any truth to it?

Jar Jar Binks doesn't have enough spooky symbiotic space germs in his cells to shoot lightning bolts out of his fingers, no.

Nonetheless, he is responsible for the rise of the Empire. Does that make him a Sith?

I wonder if one of those hooded figures on Sidious' council in Episode VI is Jar Jar. That would be pretty much the greatest Special Edition change George Lucas could ever do.

e: wrong episode

ungulateman fucked around with this message at 21:40 on Jan 14, 2016

Red
Apr 15, 2003

Yeah, great at getting us into Wawa.

ungulateman posted:

I wonder if one of those hooded figures on Sidious' council in Episode IV is Jar Jar.

Do you mean the dignitaries or inner circle weirdos in Episode VI?

Red fucked around with this message at 21:43 on Jan 14, 2016

stev
Jan 22, 2013

Please be excited.



Jar Jar is in the Cantina in ANH, just off camera.

Scum and villainy.

Chucat
Apr 14, 2006

Red posted:

Do you mean the dignitaries or inner circle weirdos in Episode VI?



Wait what?

I don't remember this scene from Return of the Jedi.

greatn
Nov 15, 2006

by Lowtax
Jar Jar is a funny, nice guy who is competent and a little bit lucky, but persecuted and outcast from his country cause he is clumsy and crashed the kings car. He's George Lucas.

GoGoGadgetChris
Mar 18, 2010

i powder a
granite monument
in a soundless flash

showering the grass
with molten drops of
its gold inlay

sending smoking
chips of stone
skipping into the fog

Chucat posted:

Wait what?

I don't remember this scene from Return of the Jedi.

They don't say a word and aren't visible in all the shots.

What was their deal? I bet I can google "purple death star throne room guys" and it'll tell me, but I ain't gonna

turtlecrunch
May 14, 2013

Hesitation is defeat.

turtlecrunch posted:

I haven't gotten a chance to watch this one but here is another video about the Force Awakens FX (an interview don't get excited):

https://www.youtube.com/watch?v=Fg8_tnFR-Mo

Got a chance to watch this, here's notes:

+ Interviewer's set-up/sound is horrible, don't be fooled by the pre-title section with the artificially low volume unless you want your ears blasted out
+ Interview is with: Chris Corbould [special effects supervisor for TFA] and Neal Scanlan [creature shop concept designer / creature shop head for TFA]
+ Neal had retired from the industry, came back after the first production meeting (which was also when he found out the project was Star Wars)

CREATURE DESIGN
+ Creature design began with 4 concept artists + Neal
+ Maz was a "burning issue" even before they had storyboards or a script
+ Process was to do calls with JJ and each time he would find something he liked and wanted to keep
+ Part of their role is "getting inside the director's head" to inspire new content that aligns more closely to the director's vision
+ Created a backstory for all the creatures in Maz's bar (cosmetic surgeons, chefs, etc.)
+ Wanted to present creatures as members of the cast, not special effects, it was not important for JJ to know how they worked

CHEWBACCA
+ A New Hope: Chewbacca's entire body was hand-knit by Stewart Freeborn's wife, every hair hand-placed, took thousands of hours
+ A New Hope: Chewbacca's face was designed by a make-up artist rather than a special effects person
+ They tried to make their own version of Chewbacca and it was "appalling", so they went back to ANH "like an archeological dig" so as to copy that design and process, they had to set their egos aside
+ "To recreate this character what you need is a person with beautiful blue eyes, wide set, strong jaw, and happens to be 7'3". How lucky was George Lucas when that man walked through his door?"

REY'S SPEEDER
+ JJ settled on an "unorthodox" design, making the speeder challenging to construct
+ Four wheels, 1000cc motorbike engine, could go 60-70mph across desert
+ Hidden driver inside so Daisy could sit on top and focus on acting
+ Driver had to be good and able to cope with 50C heat

REY'S BREAD
+ Molded an inflatable bread sculpture and placed it under the liquid, inflated it at the same time as sucking out the liquid through the bottom of the bowl
+ "People think it's CGI"
+ Neal: "I thought it was CGI too!"

FX ON LOCATION
+ Jakku was shot in Abu Dhabi, extreme heat and very challenging
+ "If I lifted a rubber mat I could walk about 50ft before I was physically exhausted"
+ "There's a responsibility to keep the people in costumes alive...at least until the shot is done"
+ "You can't compromise the look of the film" to make special effects easier, can't tell a location scout to find someplace cooler, have to give the director freedom to think creatively
+ Because of JJ's support for practical effects, they never wanted the challenge of executing those effects to be a barrier to him
+ Despite challenges, they look back on Abu Dhabi very fondly because of what they accomplished with the on-site cinematography and effects
+ Body count of remote-controlled droids: 5 or 6

CGI AND PRACTICAL EFFECT COLLABORATION
+ There was a "complete circle" between set fx and ILM
+ Constantly talked to ILM about what was the best way to accomplish a particular sequence, Roger Guyett (VFX Supervisor) preferred practical when possible
+ Entire collaboration stems from JJ and KK's vision for the effects on the new films, i.e. the practical focus
+ "It's not so much that we want to use [practical effects], we need to use them, it's part of the [Star Wars] genre"
+ The continuity of the series (rather than singular films) is very good for collaboration

MISC
+ Tried to make new effects for blaster hits on walls, created 50+ variations of light and color, then decided ANH blaster effects were fine and followed the same process
+ Lots of tests to get Daisy and John used to explosions in the distance, "75% of what we do is testing [the effects]"
+ "The worst thing you can ever hear from a director is 'oh that's not what I was expecting'."

This is a part 1 of 2 on practical effects but I don't know when they'll post the next one.

turtlecrunch fucked around with this message at 22:02 on Jan 14, 2016

LesterGroans
Jun 9, 2009

It's funny...

You were so scary at night.

Red posted:

Do you mean the dignitaries or inner circle weirdos in Episode VI?



Those background weirdos are some of my favourite details from RotJ.

Jerkface
May 21, 2001

HOW DOES IT FEEL TO BE DEAD, MOTHERFUCKER?

Rey's bread would have been a miniature in the PT...

feedmyleg
Dec 25, 2004

GoGoGadgetChris posted:

They don't say a word and aren't visible in all the shots.

What was their deal? I bet I can google "purple death star throne room guys" and it'll tell me, but I ain't gonna

I'm sure there's a Wookieepedia entry on them, but anything that would have been written about them is thrown out with the old canon. They'll probably show up in Rogue One bothering Vader by being weird campy creeps or something. I'd cast Adrian Brody as the one on the right.

Speaking of, MakingStarWars.net has some vaguely related Rogue One rumors. I guess don't click if you don't want to know anything about Rogue One? They were definitely the most reliable source throughout TFA rumor cycle.

stev
Jan 22, 2013

Please be excited.



feedmyleg posted:

Speaking of, MakingStarWars.net has some vaguely related Rogue One rumors. I guess don't click if you don't want to know anything about Rogue One? They were definitely the most reliable source throughout TFA rumor cycle.

Huh, I assumed James Earl Jones was long dead.

turtlecrunch
May 14, 2013

Hesitation is defeat.

Guy A. Person posted:

Video about visual effects, uploaded in 240p
The only Oscars-style VFX reel for the PT for comparison to the TFA one is 360p :smith:
https://www.youtube.com/watch?v=Y_gPgRZnfQc

Steve2911 posted:

Huh, I assumed James Earl Jones was long dead.

:wtc:

Gonz
Dec 22, 2009

"Jesus, did I say that? Or just think it? Was I talking? Did they hear me?"

feedmyleg posted:

Speaking of, MakingStarWars.net has some vaguely related Rogue One rumors. I guess don't click if you don't want to know anything about Rogue One? They were definitely the most reliable source throughout TFA rumor cycle.

SHUT UP DECEMBER AND GET HERE, ALREADY!

Basebf555
Feb 29, 2008

The greatest sensual pleasure there is is to know the desires of another!

Fun Shoe
The person in question was only in his mid-40s when he worked on the original films, he's 84 now.

stev
Jan 22, 2013

Please be excited.



Basebf555 posted:

The person in question was only in his mid-40s when he worked on the original films, he's 84 now.

Celebrities don't live past 69 these days.

Corek
May 11, 2013

by R. Guyovich
Long interview with ILM effects guys about TFA:

http://www.slashfilm.com/force-awakens-visual-effects/

quote:

J.J. Abrams and Disney (smartly) pitched Star Wars: The Force Awakens as a throwback to the original trilogy (the movies that most fans of the franchise loved) and a lot of the behind-the-scenes footage focused on the return to practical effects. But anyone who has seen the movie knows The Force Awakens also has its share of CG visual effects. And this morning, Force Awakens was nominated for Best Visual Effects for this year’s Academy Awards.

What might surprise you is that The Force Awakens actually has more visual effects shots than Star Wars: the Phantom Menace. Not only that, while The Phantom Menace had more miniature work than all of the original trilogy films combined, The Force Awakens features not one miniature. But unlike Phantom Menace, a lot of the CG work is invisible. Learn more after the jump.

The fact of the matter is: bad CG in movies is bad not because its the effects were created using computers, but because the effects just weren’t executed well. You shouldn’t notice great visual effects, be it practical effects or CG. A lot of the computer generated and modified work in The Force Awakens goes by completely unnoticed. For example, did you know there is a scene in The Force Awakens that has Kylo Ren with a completely computer generated helmet? You probably had no idea. I know which scene it is and I still can’t tell the helmet was added in post.

When the film does it best, Force Awakens employs a blend of practical effects augmented, extended or replaced by CG vfx. Earlier this week, I got the chance to talk with some of the people behind the visual and practical effects of The Force Awakens to gain some insight into the process. Read my conversation with Patrick Tubach, ILM Visual Effects Supervisor, and Roger Guyett, Visual Effects Supervisor and Second Unit Director.

Peter: So Supreme Leader Snoke… He’s this huge holographic projection.

Roger: Right.

Peter: So on his side of it, is he looking at a six inch holographic projection of Kylo Ren and…

Roger: (Laughs.) Ah, that’s a good question.

Peter: ‘Cause he’s looking down, right?

Patrick: That’s too yeah.

Peter: Okay, now seriously, J.J. Abrams sold this movie as kind of being like a return to practical effects and, I mean, I know that that is an aspect of it, but it seems like there’s a lot of visual effects.

Roger: I noticed, yeah.

Peter: I think some people might see this marketing and think that there isn’t, because a lot of it is kind of invisible. So how many visual effects shots are in this film?

Roger: Okay, so there’s 2100 odd visual effects shots in the movie. And obviously it’s a massive undertaking. But I think what we’re trying to do is just do this kind of slight of hand where it’s, you know, how you go about doing it, you know, that’s interesting on a technical level, but the most interesting thing is that you wanna make a great movie. And for people to believe that all these things are truly happening. And the foundation of some of that clearly is if you can actually shoot some of it in camera and then build from that or maybe you shoot all of it in camera. But for sure, you know, go to these places, go to the locations and have that tangible quality of being at that place, whether it’s in the desert or the woods of Puzzlewood [PH] and all these things. But yes, part of our job is to do this massive visual effects movie but make it look as though somehow or another it wasn’t that, that wasn’t the, you know, there was some other level of reality to it all. But you were, that all of these events were somehow unfolding.

Patrick: And I think the dictate was you might as well try to get everything in camera if you can, because it’s only gonna help you in the end. And if in the end it’s something that isn’t successful, we can deal with those. But the fact that you —

Roger: We’re not trying to ignore modern technology.

Patrick: No, the fact that you’ve done it means that you have a ground truth that you’re all aware of from J.J. down the line. We’re all aware of what something should look like so we kind of work from there.

Peter: Yeah. You say 2100 shots… The Phantom Menace had 1900 shots. I think that would surprise people that there’s more visual effects.

Roger: And it’s like one of those things where people are going, it’s not a, you should just watch the movie and enjoy it, but it is a tremendous amount of work. It might be more work to actually make it feel like it’s less effects shots than The Phantom Menace. You know what I mean? That’s the trick. And that’s really what I was really interested about the movie was the 12 year old in me was telling me I would love to make it feel like everyone was going on this journey in the movie. And it was more real. It was more, you know, you really believed that all these things were happening. And that there was a more subjective experience to it. And that you were taking this level of reality out to places that you hadn’t experienced in Star Wars movies before. And not just that notion, but also we don’t want to make a retro movie. We wanna make something with its own kind of forward kind of perspective to it. And at the same time, you know, you want the movie, you know, of course you want the movie to be exciting and have its own level of innovation.

Peter: In the finished film, what is actual practical effect and what is CG? For example, is the desert background in the Millennium Falcon chase real? How many shots of BB-8 are actually real versus…?

ROGER: Well the BB-8 is easier to answer. Probably about a quarter of the shots of BB-8 are digital. And we came up with this plan with [creature shop head] Neal [Scanlan]. And that’s that kind of collaboration thing where you totally understand what the big pragmatic about what you felt we could achieve with a practical puppet. But the at the heart of that approach was if you have a practical puppet and I have an actor, those two beings can interact. I can puppeteer the thing and the actors can see how the behavior of the puppet and we can totally define that puppet’s behavior. Or the droid’s behavior. So to us it was so critical to define that so clearly. Then you have other instances where you’re going, okay, I’m doing a Falcon chase in the desert. The Falcon’s traveling at about 700 miles an hour. I’m gonna create a technology where I can essentially create any version of that desert that I want so I can fly around it and create my own camera moves. And if I can achieve that, then I can essentially put a sequence together like a chase sequence and hopefully people believe that it’s all really there, you know, it’s all photographed. And the trick there I think sometimes is to base it on somewhere that’s real because somehow in your head now you’re making that connection that, oh, that’s a tangible place.

Patrick: Well, and one simple way to put it is after the Falcon takes off, after the depot town, there isn’t a single un-manipulated shot after that. They’re all CG shots. But there are real elements within them. And that’s what I think gives is the real tangible thing, ’cause Roger went up and shot a lot of desert plates in a helicopter and we’re using a lot of those plates in there. But they’re all some CG version of that. They’re —

Roger: They’re all mashed up.

Patrick: Yeah, they’re all mashed up in but the cool thing was is to have that real tangible reference. It really makes it feel real and I think it, you still feel the location, even though they aren’t just straight plates, you know.

Peter: What is something that is CG in the film that most people would be surprised isn’t practical?

Roger: Well, I think there are shots, we did a lot of foliage stuff, trees and things like that. I think people would be surprised. One of my favorite scenes for that kind of sleight of hand is more towards the end where we had a scene with C-3PO, R2-D2 and BB-8 and we’re literally in some of those shots just for performance reasons, switching between mishmash of real BB-8, CG R2-D2.

Patrick: Sometimes the heads are CG, sometimes the bodies are real.

Roger: Yeah, Pat and I always joke, we literally sit there going, which one was this the real version of this? And it’s partially that that was the motivation. That very idea was the very motivation why we went round this group of having the most charming, in camera kind of approach. I’m using the word charming in a broad sense, but meeting this incredible technology and mashing those two things together. ‘Cause the technology available to you today if you have, you know, if you have the right sort of mindset and the right kind of planning and the right kind of restraint, I think it’s amazing what you can actually do with that technology. And you’re just constantly, you’re constantly changing the rules in shots about what’s real and what isn’t real. There are shots of Stormtroopers in the movie that I defy, I mean —

Patrick: There’s a good one. When the X-Wings approach and you pan the camera over and the troopers are getting ready to fight off the X-Wings as they approach and you see the X-Wings in the distance, the two troopers that you pan on to at the end of the shot are completely digital. But they are, they just look amazing. And the first time we saw that and the first time J.J. saw that, I remember his reaction was just his mind was just blown.

Roger: And what’s interesting is I shot that. You know, as second unit director, I did that shot and when I did that shot, I was always like it was a wall. It’s the piece that you’re traveling up, I mean, it’s a classic kind of reveal tracking shot. You’re with the guys right through, you track up a wall and that wall was just to give some foreground motion. And at the time, I was going God, I wish we had some ledges on that wall ’cause I could throw a couple of Stormtroopers up there. And you’d reveal up and you’d see these Stormtroopers. And then we come to post-production, I’m going gently caress, let’s just put some in, you know. And we just started putting in some Stormtroopers. And I was just like holy crap, you know. This actually works. And they look incredible.

Peter: J.J. Abrams is kind of known behind the scenes to change his mind in the process or to find what he’s looking for late in the process. I wonder how does that affect your job, because what you do takes a lot of —

Roger: Well I would say that what he does, which I think some filmmakers are more afraid to do, is he’s not afraid to change something if he thinks there’s a better idea. And that can take all kinds of…

Peter: Do you have an example of that?

Roger: What would be an example of that in this movie? Well, I’ll think about that momentarily, but you can imagine you’re down a set path and you’re just constantly trying to think of ways to make any of those moments better. And you’ve got to within the grand scheme of things, you’re just trying to figure out whether or not you can achieve that in the amount of time that you have. And the one thing I would say about Star Wars is we were all determined to make it the best movie we could. So I think everyone that signed on for this mission knew that any of us and Pat and I being equally bad offenders, we would always turn to each other and go, what could we do here that would be cooler and more interesting or better? But, I mean, J.J.’s thing really is that he’s an incredibly creative man. And part of that is he thinks of good idea. You know, and —

Patrick: Yeah, I think he plans things very well, but at the same time he doesn’t let himself be constrained by whatever plan he may have had. He sort of lets himself feel it out on the day. And I think one thing we just tried to impart to everybody on our crew is don’t get too attached to every single shot or every single idea, because is there is a different version, we’re gonna explore that. And I think once people lock into that same mentality, it actually makes you feel a little bit more free to explore your own creativity. And that’s what makes him such a great collaborator, because we’re constantly, you know, we’re able to change things. Instead of being dictated to do something.

Roger: Yeah, so you get it, it’s kind of like we’re sketching out our process, he’s reacting to that. I mean, in a movie where you’re doing 2100 visual effects shots, you know, there’s a certain leap of faith and trust that you —

Peter: I’ve heard there’s like a shot of Kylo Ren that had his helmet off and you guys–

Roger: Okay, so yeah, that would be a great example of that, is he realized that certain moments between Snoke and Kylo Ren, J.J. went, oh yeah, actually I’m gonna shift the position of that scene. And so that it plays out in a different point in the movie. Now there was a certain point in the movie where he took his helmet off. And now you’re taking a scene that was after that and you’re putting it before that. And you’re going oh poo poo, he doesn’t have his helmet on. And so in a couple of those scenes, the guys in London actually did an incredible job. So when you watch the Kylo Ren —

Peter: I’ve looked for it. I know exactly the scene and I can’t even tell.

Patrick: Yeah, it’s great, yeah. Not only that, he had his helmet under his arm. So we had to fix his arm so you don’t see that.

Roger: Yeah, so that’s the most amazing thing isn’t it? About digital technology. You can do that. And that did change the movie for the better, because it changed the focus of —

Patrick: It changed his reveal.

Roger: So you’re kind of going, oh that’s interesting. But that’s just taking advantage of something that is a modern filmmaking tool, you know.

Peter: I’m being told we’re wrapping this up, so I have one final question: Is there any Easter eggs that you guys have hidden in the film? I know ILM sometimes puts R2-D2 in a film or is there any kind of —

Roger: Well, we have a long history of putting R2-D2 in movies with J.J. I mean, obviously they’re in both the Treks and they’re in all his movies. But there are many Easter eggs. People are gonna watch this movie over and over again, right? Okay, so to me my thing is, you want it to be such a great level of texture that you can augur in, you can watch this movie multiple times and see things happening at different points in the frame that you may have missed. Pat mentions that the mouse droid, you know —

Patrick: There’s a mouse droid jumping into a pit at the end of the TIE escape sequence. One thing that we put in that was a fun little detail is when Rey is jumping off the piece of [rope] into the pit in the beginning of the movie where she’s going down the rope in the Star Destroyer. We had a little thing there that looked like a little gas cap and so we just said hey, let’s just put an Empire logo on that. And it’s those little things that people don’t notice, but then they go back and they say, oh look at that. And I think those sorts of little details are…

Peter: They’re fun.

Roger: There’s many of those, yeah. Many.

Corek
May 11, 2013

by R. Guyovich
Not a digital effect, to be fair: Rey's instant bread.

http://www.mtv.com/news/2728173/star-wars-rey-bread/

Waffles Inc.
Jan 20, 2005

Corek posted:

Long interview with ILM effects guys about TFA:

http://www.slashfilm.com/force-awakens-visual-effects/

This is really a great interview

CelticPredator
Oct 11, 2013
🍀👽🆚🪖🏋

people didn't think the bread wasn't real?

Jerkface
May 21, 2001

HOW DOES IT FEEL TO BE DEAD, MOTHERFUCKER?

I dont care if its miniature, a real thing, or CGI, the biggest thing is that it needs to exist 'in the movie'. Thats my biggest problem with CGI in the PT. I dont think people hate the gorgeous alien landscapes that posters have been so kind as to post screenshots of in these threads. Its when there is something clearly CGI & the real people in the scene clearly don't have a handle on whats happening. I'll give 2 examples since one was just mentioned by Paul Scheer on the Star Wars Minute podcast & 1 I noticed immediately while rewatching a bit of TPM (to see the pod race! woooo!)

1. Jar Jar tries to steal some food from a vendor, that is portrayed as a grotesque looking practical effect, looks fine, even if the food he steals looks pretty bad (it looks like a bad practical effect! oh no!). The thing flies into Sebulba's ramen and Sebulba goes to beat up Jar Jar. Sebulba is full CGI & Jar Jar is full CGI (tho portrayed on set by Ahmed Best?) Despite Best maybe being on a set for this scene doing his acting, literally no one reacts to a loving street fight going down!

Sebulba's table featured 2 human Sebulba'pals, when the weird rubber chicken flies into the soup, some soup splashes on one of them who reacts. The other guy doesnt react. Then Sebulba literally launches himself over the table, knocking poo poo over, and neither guy reacts. Then he tries to beat the poo poo out of Jar Jar and neither of them react, nor any passerbys. Then he goes back to the table, and they still don't react.

Who was directing these 2 people to ignore literally the action & focal points of the scene? Why? Wouldn't they be interested in the fact that their thug friend was about to beat the poo poo out of some weirdass alien they never saw before?

This kind of 'no sell' of the CGI going on in the PT happens too often and makes the film lose the magic that creates good CGI in my opinion.

2. Darth Maul releases a robot to scout out Mos Espa or where ever these guys are. it could be a miniature, it could be CGI, who cares? because no one cares!! in the movie!! This piece of poo poo evil looking robot literally flies right in front of a guy walking and he doesn't startle or change his gait or even look at the evil looking eye-droid thats going around evilly!! No one cares!! I get startled when a loving bee flies within 5 feet of my face while walking and not paying attention, let alone a droid the size of 500 bees!!


So anyways thats my thought on why I think CGI is good when used well and bad when used poorly

hiddenriverninja
May 10, 2013

life is locomotion
keep moving
trust that you'll find your way

Red posted:

The point is that Ian McDiarmid was the best thing about those lovely, lovely movies, and I love that someone with his theatre background went so hog wild with a villain role.

When he takes that pause that he takes at the water ballet going into "...life," it's perfect.

homullus
Mar 27, 2009

Jerkface posted:

So anyways thats my thought on why I think CGI is good when used well and bad when used poorly

So how would you portray these things if you wanted to show that the people in those environments ... don't care?

Jerkface
May 21, 2001

HOW DOES IT FEEL TO BE DEAD, MOTHERFUCKER?

homullus posted:

So how would you portray these things if you wanted to show that the people in those environments ... don't care?

Maybe the guy walking could look and be like "pfft, bee droid, whatever" and keep walking, or be annoyed he has to change his path, or stop a bit then keep walking. Or the people eating with Sebulba could look at Sebulba and go "wow beating up someone, nice" and go abck to eating, instead of literally doing nothing and acting like these things arent even there (because for them, they arent!)

Like if you think the intent of the Maul droid scene or Sebulba beat up scene is to show that no one cares that this is happening, then I have to take us back to the OT where a similar scene plays out and the movie actually acknowledges that it happens & then shows us that no one cares!

Greedo getting shot & Panda Boba getting his arm cut off are both 'acknowledged' by the crowd but no one gives a poo poo. IT works. No one acknowledges Sebulba or the Droid because they dont exist on the set and I dont think the extras were told what was going on.

ungulateman
Apr 18, 2012

pretentious fuckwit who isn't half as literate or insightful or clever as he thinks he is

Jerkface posted:

1. Jar Jar tries to steal some food from a vendor, that is portrayed as a grotesque looking practical effect, looks fine, even if the food he steals looks pretty bad (it looks like a bad practical effect! oh no!). The thing flies into Sebulba's ramen and Sebulba goes to beat up Jar Jar. Sebulba is full CGI & Jar Jar is full CGI (tho portrayed on set by Ahmed Best?) Despite Best maybe being on a set for this scene doing his acting, literally no one reacts to a loving street fight going down!

Sebulba's table featured 2 human Sebulba'pals, when the weird rubber chicken flies into the soup, some soup splashes on one of them who reacts. The other guy doesnt react. Then Sebulba literally launches himself over the table, knocking poo poo over, and neither guy reacts. Then he tries to beat the poo poo out of Jar Jar and neither of them react, nor any passerbys. Then he goes back to the table, and they still don't react.

Who was directing these 2 people to ignore literally the action & focal points of the scene? Why? Wouldn't they be interested in the fact that their thug friend was about to beat the poo poo out of some weirdass alien they never saw before?

Ahmed Best was on set in a silly-looking Jar Jar costume, yes.

I think 'no reaction' is pretty bad direction, but 'apathy' - as in "who's Sebulba trying to kill now? whatever" - works pretty well when we're talking about Tatooine, the kind of place where a Jedi can cut your arm off and nobody gives a poo poo.

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CelticPredator
Oct 11, 2013
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homullus posted:

So how would you portray these things if you wanted to show that the people in those environments ... don't care?

put them in a blue/green room and tell them to walk. we can add a bunch of bullshit in the background in post!

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