VFX Voice

The award-winning definitive authority on all things visual effects in the world of film, TV, gaming, virtual reality, commercials, theme parks, and other new media.

Winner of three prestigious Folio Awards for excellence in publishing.

Subscribe to the VFX Voice Print Edition

Subscriptions & Single Issues


April 01
2020

ISSUE

Spring 2020

Final Frame: From Old School to Real-Time

(Photo courtesy of Columbia Pictures and The Academy of Motion Picture Arts and Sciences)

The above still shows Jimmy Stewart, Jean Arthur, director Frank Capra and cinematographer Joseph Walker on a crowded set during the filming of Mr. Smith Goes to Washington from 1939. Anyone from the early years of filmmaking walking onto the set of a superhero movie or other elaborate filmmaking set today, such as The Lion King or Star Wars: The Rise of Skywalker, might go into a state of shock at the dramatic changes. Instead of large and bulky mechanical cameras that need to be loaded frequently with nitrate film, no video village for feedback, large painted backdrops, small crews, hand-built film sets, giant hot lights, etc., they would enter a world of multiple, small lightweight, digital and virtual cameras; greenscreens; bluescreens; virtual sets; mechanical props; tracking markers; pyrotechnics; model and miniature work; actors in mocap suits; hundreds of onset specialists; customized iPad Pros; and newer real-time engine rendering technology. And post-production? That also would be mind-blowing for the time traveler from earlier days of filmmaking. Instead of painstakingly cutting film strips, they would experience small computers with enormous processing capacity, CGI, 3D animation techniques, and armies of visual artists and tools involved in the pre- and post-production process. Real-time production is set to even further alter the dynamics of filmmaking in the 2020s and beyond.


Share this post with

Most Popular Stories

The Miniature Models of <strong>BLADE RUNNER</strong>
02 October 2017
Final Frame
The Miniature Models of BLADE RUNNER
In 1982, Ridley Scott’s Blade Runner set a distinctive tone for the look and feel of many sci-fi future film noirs to come, taking advantage of stylized production design, art direction and visual effects work.
The New <strong>Artificial Intelligence</strong> Frontier of VFX
20 March 2019
Final Frame
The New Artificial Intelligence Frontier of VFX
The new wave of smart VFX software solutions utilizing A.I.
THE PEARL: THE SUPER ALIEN MODELS OF<strong> VALERIAN</strong>
02 August 2017
Final Frame
THE PEARL: THE SUPER ALIEN MODELS OF VALERIAN
Among the many creatures and aliens showcased in Luc Besson’s Valerian and the City of a Thousand Planets are members of the Pearl, a beautiful...
Converting a Classic: How Stereo D Gave <strong>TERMINATOR 2: JUDGMENT DAY</strong> a 3D Makeover
24 August 2017
Final Frame
Converting a Classic: How Stereo D Gave TERMINATOR 2: JUDGMENT DAY a 3D Makeover
James Cameron loves stereo. He took full advantage of shooting in native 3D on Avatar, and has made his thoughts clear in recent times about the importance of shooting natively in stereo when possible...
2018 – Year of the Rapidly Expanding <b>VFX Moviemaking Vocabulary</b>
03 April 2018
Final Frame
2018 – Year of the Rapidly Expanding VFX Moviemaking Vocabulary
Industry leaders discuss trends and issues.