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And the Oscar goes to ...
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Interstellar.
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Ex Machina.
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The Jungle Book.
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Blade Runner 2049.
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First Man.
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Here are this years nominees for "Achievement in Visual Effects"
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The best way to start, I think, is just by you telling me who you are, what you do ...
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Okay.
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Well, my name is Niko Pueringer.
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I'm one of the founders of Corridor Digital, which is a YouTube channel.
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And we specialize in doing VFX action-heavy, spectacle-heavy YouTube videos.
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Cool.
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So we're here today to talk about the movies that were nominated for an Oscar for Visual Effects.
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The whole thing with this movie is that it's made to look like it was done in one take.
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It's not entirely revolutionary and unexplored before, but they're doing more complicated
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setups and scenes while still trying to maintain that one take look.
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The challenge they have with that is that these effects need to be invisible.
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I would love to talk about this long run scene.
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If you look at the, the behind the scenes shot and then the actual shot of the film,
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you know, first you might notice like, oh, there's some extra explosions added
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or there's some extra soldiers.
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But what you might not notice is things like the tire tracks from the car that they're
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driving have been removed or the dust being kicked up from the tires.
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And that's much, much more complicated than just adding another explosion in the background.
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The challenge with 1917 is doing these invisible effects, but doing them for long takes
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and then having these hidden cuts be seamless.
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Because the moment you get one of these little details wrong, you break the world.
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So I think looking at the scene, what will probably surprise most people looking at it,
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is that the majority of the scene, the vast majority of it, is 100 percent CG.
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The stormtroopers, the speeders, the sand, all that kind of stuff.
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There's a phrase for things like the dust clouds, and the physics and things
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like that — the smoke.
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It's usually referred to as dynamics.
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That's one of the first, very first giveaways as a CG scene, is looking at the smoke and
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being kind of, like, painterly quality where it's not quite realistic – And we're
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just kinda getting to the point where we can kinda match real life with that.
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I think a lot of the hype that I heard was definitely around these animals.
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But you were talking about how it's really setting that impressed you.
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I'd the biggest thing that stands out to me — in any of these environment shots — is
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the vast number of actual objects on screen.
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Like this, this shot of Mufasa and Simba walking through the grass as we focus away from the
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spider and onto them — there's thousands of blades of grass in this scene.
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There's leaves — there's hundreds of leaves on the bush from the camera, and so all of
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these things need to have an incredible amount of detail.
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That's what stands out to me as being incredible here.
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Yeah, the animation is great.
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The rendering?
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Impeccable.
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The lighting simulation?
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Great.
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Wonderful.
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You know, all that's awesome.
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But the fact that all of it comes together cohesively?
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That's way crazier to me.
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So there's a couple things about Avengers that – that are really ...
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impressive.
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One of the first ones is the, the time travel suits.
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All those suits that you see them wearing, those are completely CG,
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and they look completely realistic.
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You cannot tell that they are fake.
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They replace the entire body except for the head.
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And that's insane.
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Why would they do that?
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Well, it takes a lot of time to construct these costumes for these characters, and it's
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only being used for five minutes of the film.
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Is there anything like particular on the suits that made them stand out to you?
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So I was scrutinizing the suits when I watched this scene again and the only things that
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really give them as being CG — and you have to really be looking for it and know
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what you're looking for – is when they're interacting with something real.
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So a suit really and only interacts with two real things.
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The neckline of the actor and the feet on the ground.
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You have to fake the shadow from the suit being cast on the ground.
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And there's a lot of nuances to that.
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But ... Nobody's analyzing the neck lines.
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Right.
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You know, to me, out of all the films I've been nominated for an Oscar here for Best
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Visual Effects, The Irishman has the most unique, brand-new technology.
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The reason they're going through all this trouble ... is because they want to tell a
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story of a character throughout his entire life – and they need to get him at his,
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you know, when he was 60, when he was 50, when he was 40, when he was 30.
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How do we let this guy shoot a movie like this with actors not wearing any markers or
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tracking suits?
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And yet we somehow need to capture a full 3D-model of the face for every frame of the
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movie – basically a full real time 3D motion capture.
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They just lit the scene with infrared lights from the "witness cameras," they're called.
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So they're seeing the scene with perfect lighting.
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And we can't see with our eyeballs, the actors can't see the infrared light.
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The main camera that they're filming the scene with can't see the infrared light, and it
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was really, really smart.
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They did encounter one problem, though, and that is: old cars.
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Old car windshields and glass, they used to use lead when they'd make the glass.
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Lead doesn't let infrared light through.
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So, they actually had remove all the windshields from the cars at any time to see a car in
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the film that windshield, the reflection of the windshield,
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that's fake.
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Do people really care about this award?
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You know, These are just five films, and a good chunk of them are just kind of doing
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the same techniques we've already done.
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In fact, when comes to visuals, there's so much going on in the space – every year
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you're building off of the knowledge and the tools that you've gained from the previous year.
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And so these, these more advanced techniques that they're using for these movies, you know,
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it's lending the visuals to looking a lot more photo real ...
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but we've seen it before.
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The Oscars, it's good recognition, but there is so much more that drives an artist – at
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least a visual effects artist – outside of hoping to win an award like an Oscar.