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Practical make-up and effects at their finest - Page 5

post #201 of 234
I think there is a distancing effect with CGI, but maybe only to the trained geek eye. I grew up on practical FX and stop-animation, so when I see something that seems to be moving too fluidly to be achieved by those means, I conclude that it's a CG illusion. As I've opined elsewhere, practical FX have the advantage of being 'real' in at least one literal sense.

I don't think special effects 'fool' anybody these days, what with making-of documentaries and coffee-table books everywhere. It's become part of the standard promotional strategy: "Look how much work we put into creating this stuff!" If there are still any magicians who guard their secrets, we don't know who they are.

But to answer your question, I think contemporary filmmakers go for CGI for two reasons: (A) It's perceived as more efficient and less expensive, and (B) it's the fashion. You're not big-league if you can't make your movie the way the big guys do.
post #202 of 234
I don't disagree with you, I was just thinking.

Another thought that popped in my head, the last I'll do before I eat because I'm starving: CGI will never be inherently believable because, no matter how 'real' it gets, people will know that they didn't actually genetically engineer an alien to work like that, etc.
post #203 of 234
That's why I like cartoon animation. It eliminates the challenge to the viewer of trying to figure out how they did that. Unfortunately, the filmmakers that take complete advantage of this are very rare. Maybe only Miyazaki.
post #204 of 234
HELLBOY 2 DVD is chocked full of goodness. Anyone who's a practical FX fan needs to pick up the 3 disc and marvel at the wizardry:
http://www.youtube.com/watch?v=a9mJHTTYdLM
http://www.youtube.com/watch?v=6vZUa...eature=channel


Just surfing the youtubes, I came across this fanmade Critters puppet. Inspiring!

Making a Monster part 1
Making a Monster Part 2 "Mechanics"
post #205 of 234
FANTASTIC FLESH - The Art of Make-Up EFX hits DVD tomorrow. It's "Short Wait" on my Netflix queue, but I'm looking forward to it.
post #206 of 234
I've never seen this BBC show, but good for these guys:

Being Human Werewolf Transformation
post #207 of 234
Quote:
Originally Posted by Scumbag View Post
CGI will never be inherently believable because, no matter how 'real' it gets, people will know that they didn't actually genetically engineer an alien to work like that, etc.
Drag Me To Hell CGI Fly says "Fuck that!" in a buzzy little voice.
post #208 of 234
Quote:
Originally Posted by Phil View Post
I've never seen this BBC show, but good for these guys:

Being Human Werewolf Transformation
Thanks for the heads up on the show and that clip!
post #209 of 234
Quote:
Originally Posted by Phil View Post
I've never seen this BBC show, but good for these guys:

Being Human Werewolf Transformation
Not to stray too far from the topic but this is actually a really engaging show, something that took me somewhat by surprise.

Seeing the behind-the-scenes of the Werewolf make-up just makes me appreciate it all the more.
post #210 of 234
One of the best subtle uses of make up is still Max von Sydow in The Exorcist.

Most don't realize that this guy...


was only 44 at the time.
post #211 of 234
Quote:
Originally Posted by joeypants View Post
One of the best subtle uses of make up is still Max von Sydow in The Exorcist.

Most don't realize that this guy...


was only 44 at the time.
Word. And based on the trailer for Shutter Island, you can see just how eerily prescient Dick Smith was.
post #212 of 234
I'm currently loving 'Moon' and it's great model work. I really think having models makes the film even better. And then Clint Mansell's wonderful score.
post #213 of 234
Great thread..FX master Steve Johnson just started a Youtube channel.He plans on sharing thousands of hours of behind the scenes footage.

http://www.youtube.com/user/stevejohnsonfx
post #214 of 234
One of the most informative and accurate FX docs from the Golden Age:

Horizon: Filming the Impossible (part 1)
post #215 of 234
post #216 of 234
what the christ
post #217 of 234
I'm pretty positive that's Zbrush. So I guess I don't get it.

Good on Baker for learning digital sculpting though. I imagine it's translating better for the old guard in Hollywood effects than most 3D work since it's a whole lot more intuitive.
post #218 of 234
Poopdeck Pappy (by way of Innsmouth)? Cause Popeye's jaw would be bigger. Cool Zbrush sculpt though.
post #219 of 234
DeNiro in KB'S MS'S F

(below is a model of his Frankenstein, but it's good at showing the concept of the design, I couldn't find a still from the film that showed it off as well)

post #220 of 234
Quote:
Originally Posted by Zweit View Post
I'm pretty positive that's Zbrush. So I guess I don't get it.

Good on Baker for learning digital sculpting though. I imagine it's translating better for the old guard in Hollywood effects than most 3D work since it's a whole lot more intuitive.
Definitely Zbrush. When he visited the school I personally witnessed him geek out about Zbrush (which I know absolutely nothing about) for an hour with about a dozen VFX students (I was the only Film guy that slipped in). I think he even ended up judging some ZBrush competition they were having. Then I mentioned Videodrome and everyone there but Baker eyed me funny.
post #221 of 234
I mentioned this in the discussion thread itself, but for all the ballyhoo about District 9's kickass CGI, the practical effects work there is just as good, particularly Wikus' alien arm and the mutilated prawn corpses.
post #222 of 234
post #223 of 234

Rewatching Carpenter's THE THING (for the umpteenth time, inspired by prequel's recent trailer). THE THING, AMER WEREWOLF, and THE DARK CRYSTAL are about 30 years old. 30. Cripes. What a landmark. Weta and ILM do amazing work, but I miss the latex heyday of the early 80s.

post #224 of 234
Quote:
Originally Posted by DARKMITE8 View Post

Rewatching Carpenter's THE THING (for the umpteenth time, inspired by prequel's recent trailer). THE THING, AMER WEREWOLF, and THE DARK CRYSTAL are about 30 years old. 30. Cripes. What a landmark. Weta and ILM do amazing work, but I miss the latex heyday of the early 80s.



THE THING is always a perfect reminder of the fundamental differences of CGI and Practical FX; at their best CGI gets you to say "Wow" while practical gets you to say "WTF!?". I've never thought CGI was "gross"... it may convey a gross idea but it's never "gross" in the way practical is.   

post #225 of 234

As a special-effects make-up enthusiast (and amateur meddler) I can't tell you how much I've enjoyed Blu-ray and my 1080p display for showing off every fascinating detail of the great movie make-up illusions.  The new Lord Of The RIngs - Extended Edition Blu-ray set is such a wonderful way to appreciate the amazing orc make-up work by Richard Taylor and his WETA team.  What an endless and horrifying array of nightmare faces!  And flawless!  I cannot see any seams around the eyes in the close-ups.  Bravo, nerds!

post #226 of 234

A lovely behind-the-scenes video of Amalgamated Dynamics Inc's practical FX for the Thing rebootquel-- much of which, I gather, hit the cutting-room floor:

 

post #227 of 234

And the hits keep on comin'...

 

FX company Amalgamated Dynamics just released this video of a concept for the Green Goblin from Sam Raimi's first Spider-Man movie from 2002:

post #228 of 234

Yeah, as bad as the helmet in the movie was, why would Norman Osborne make an articulated Green Goblin mask?  Simply because he's crazy?

 

He didn't exactly modify much gear to begin with.

post #229 of 234

Quote:

Originally Posted by neoolong View Post

Yeah, as bad as the helmet in the movie was, why would Norman Osborne make an articulated Green Goblin mask?  Simply because he's crazy?

 

He didn't exactly modify much gear to begin with.


I'm guessing that's not supposed to be a mask. I don't know if the ears there quit work (I'd tone em down a bit), but I always wanted Norman to remove the mask in the film, revealing that the serum had transformed him into a grotesque goblin. It would have been so much better to have seen Dafoe's face during those good vs evil conversations with Peter.

 

And I'll wait to see THE THING remake before checking out that footage. Actually looking forward to that now in an academic sense.

post #230 of 234
Quote:
Originally Posted by DARKMITE8 View Post

Rewatching Carpenter's THE THING (for the umpteenth time, inspired by prequel's recent trailer). THE THING, AMER WEREWOLF, and THE DARK CRYSTAL are about 30 years old. 30. Cripes. What a landmark. Weta and ILM do amazing work, but I miss the latex heyday of the early 80s.



 

Quote:
Originally Posted by Timothy Q View Post



THE THING is always a perfect reminder of the fundamental differences of CGI and Practical FX; at their best CGI gets you to say "Wow" while practical gets you to say "WTF!?". I've never thought CGI was "gross"... it may convey a gross idea but it's never "gross" in the way practical is.   


 

This.  Something has been lost in the over-reliance on CGI.  It's cheaper and easier to change on the fly, but it doesn't have the palpable reality of a creation.  I think practical effects and CGI signal the brain in different ways, such that the visceral experience of watching a CGI creation will never be the same as watching a practical moonster.  And Rob Bottin's work on The Thing has never been topped, imho. 

post #231 of 234

The award-winning visual FX wizards (miniatures, matte paintings, etc), Skotak Bros (Robert and Dennis) are hugely influential... just in their involvement with James Cameron alone. But seeing them in the ALIENS behind the scenes materials, led me to believe their HAIR is an example of  "Practical make-up and effects at their finest". Wow.

 

d26928.gif d26929.gif

post #232 of 234
post #233 of 234
post #234 of 234

Quote:

Yeah, SW School has been throwing those up on FB too.
 

 

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