Movies are like watching video games now.
NAILED IT!
So depressing.
The Wook
Movies are like watching video games now.
Movies are like watching video games now.
Snorkel. Albuquerque.
This thread is cracking me up because it reminds me so much of the Monty Python Four Yorkshiremen sketch.
And I hate video games.Movies are like watching video games now.
It's not always generational. I'm probably your age, but I side with you father musically.That sounds about right! My brothers and I use to have conversations like this one with my father about music. He grew up on Sinatra, Ella Fitzgerald, big bands and swing. To his credit, he had a certain amount of tolerance for rock-n-roll but really didn't like any of it. To him, it represented a death knell for good, quality, pop music. Of course, we loved rock and thought his music was boring. Rotten kids.
So I guess this kind of conversation, no matter what the topic, is basically generational and will go on long after we're all dead and uploaded into our digital storage pods. But until then, it's fun to talk about.
It's not always generational. I'm probably your age, but I side with you father musically.
Yeah, I absorbed a lot of good music from him, not to mention some great, classic movies.
Movies are like watching video games now.
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But I think it's a little unfair to say there are no great fx people working in the digital realm today. ...
As for why we don't hear more about the newer FX people? Think about it... in the 70s and 80s, effects work inspired a whole generation of young people in a way that had never happened before.
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But 40 years later, effects are everywhere and being made in countries all over the world. Special effects have become mundane simply by being omnipresent. It's hard to get noticed when the audience takes your work for granted.
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When I look at the movie "Kubo and the two strings" and watch the making of, I am blown away by the amount of work that went into it, although it has a digital basis it was built upon. I see new techniques used to make a movie an old-fashioned way.
But although I was thoroughly impressed by the use and combination of new and old techniques, I did ask myself "why?"
Why would anyone go to the lengths and first build up everything in 3D, then print it out and then animate it like it was done ages ago?
The making ofs of Kubo are so damn impressive, and we have members like Tim Arp aka @D48thRonin working on such great projects, but see what happens? Me, whining about the loss of magic thinks about why a handcrafted movie was not done entirely digital. Shizophrenic?
Schizophrenic? Ha, possibly, but you raise another good point. I really liked Kubo and the Two Strings and it was amazing to see just how much of the film was hand crafted. The same is true of all Laika films, they've really elevated stop motion to a new level by combining old and new techniques. But in a world were the general film audience just assumes everything they see on screen is cgi, why use old techniques? From a business standpoint it probably doesn't make sense. But I'm glad a few people are still doing it.
And speaking of RPF inspiration, look no further than the short Blade Runner film being made by member LukaFilm and his partner. In addition to all the miniatures they've created, they recently had a post showing how they made a traditional matte painting and the final clip looked fantastic.
So it's nice to know that a few people are keeping the old techniques alive. There's still a little traditional magic out there and a little is better than none, in my opinion.
I still have my Cinfex and Cinefantastique magazines, too. They're still fun to read and it's nothing short of miraculous that those SFX guys were able to pull off some of the things they did. People like Doug Trumbull, Richard Edlund and John Dykstra were well versed in photography, film technique, mechanics, engineering, physics, etc. Edlund was somebody who didn't just know how an optical printer worked, he knew how to design one and help build it from the ground up.
But I think it's a little unfair to say there are no great fx people working in the digital realm today. It's probably just as difficult in its own way and requires a high level of both tech and creative skill. As it's often said, the tools change over time but the tools don't sell the effect. That will always require hardcore dedication and talent.
As for why we don't hear more about the newer FX people? Think about it... in the 70s and 80s, effects work inspired a whole generation of young people in a way that had never happened before. FX people were like rock stars to some of us and there weren't that many of them out there. You had ILM, Apogee and Future General. It was easier for those guys to gain recognition when they had the playing field to themselves. But 40 years later, effects are everywhere and being made in countries all over the world. Special effects have become mundane simply by being omnipresent. It's hard to get noticed when the audience takes your work for granted.
True, the poor pacing of many movies is annoying, but that's because the current generation of FX people and directors grew up on video games. I don't know if there's any solution to that particular problem.
Triple Check! Wasn´t Phil Tippet working on a monster classic animation project?
Get out of my head. As a kid ( and now) i created with things in the physical world. Kids who grew up with computers now create with computers. I some times see threads where a member is making CG model of a space ship. Im thinking 'What the heck are ya going to do with it when its done?' I mean its not like you can touch it or physically play with it. We just have a different avenue to create with.