Name: 21世紀のVFXイノベーショントップ10! (Top 10 VFX Innovations in the 21st Century!)
Uploaded: 2021-01-14T08:24:31.000Z
Duration: 16 min 44 s
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>> CineFix Host: Last time we talked about VFX,

程度の副詞

we stopped just short of the Matrix's bullet time in the new millennium.

But have you ever wondered how we got from there to here?

These are the top 10 innovations in VFX of the 21st century.

>> Everett: All right boy follow my lead.

>> CineFix Host: Starting us off at number ten, we're warming

up with one of the least flashy innovations in CG

technology that has nonetheless had one of the biggest

If you've made fun of how blockbusters look lately, you know it's all the rage to

criticize them for being almost exclusively teal and orange.

And while we won't completely decry the look, we will put our vote in for

what we're ultimately talking about is that the color of films can be changed.

There's an artistic spin on the look of motion pictures,

like a moving Photoshop and it's called color grading,

or coloring, which makes film makers sounds a bit like creative

kindergarteners going to town with their Crayola, but that's besides the point.

Back before the 2000s we didn't have Photoshop or iMovie, or Instagram or

nearly as many likes on our purple tinted selfies of sunsets.

So film makers use celluloid and prisms things called telecines to

color time the look of the film when it completely analogue fashion.

It was pretty good but it has it's limitation.

So, when Joel and Ethan Coen wanted a dusty Autumn look for

their period dramedy, O Brother, Where Art Thou?,

despite shooting in the vivid green middle of summer.

Their cinematographer Roger Deakins said, screw it.

Let's just scan the entire thing into the computer and color it that way.

And thus, digital color grading was born.

Sure, digitally scanned portions of the film were used as early as 1993 on films

like, wait for it, Super Mario Brothers, in order to complete bigger VFX shots.

But, Brother was the first film to a, scan the entire film, and

Since then, practically every single film has undergone a similar process.

Today, filmmakers can endlessly tweak the visual moods of their scenes.

And it's all thanks to the digital intermediate innovation pioneered at

>> CineFix Host: Moving forward to number 9,

it's time to get a little more flashy and effectsy.

One of our pre 2000 picks was the gorgeous digital alien pseudopod from the abyss,

But the following years didn't see much more 3D fluids than that.

Ants and Titanic both made some good attempts, but the results were limited.

You see there are two basic ways to simulate fluids.

You can calculate them particle by particle drop by drop, or

consider an entire volume at once and simulate the mass as a giant flowy mesh.

The problem is, that drop by drop doesn't scale very well to larger bodies of

water because the calculation is getting insane and volume mesh looks

pretty dopey in situations where water might break up in smaller droplets.

Industrial Light & Magic developed a solution by combining the two approaches

into a high-bred simulation that used volume calculations for larger

bodied portions of the water, and droplet type simulation for when they broke down.

They debuted this innovation in the ocean disaster film, The Perfect Storm.

Other specific algorithms and software have come miles further for

films like The Day After Tomorrow, Happy Feet, Pirates of the Caribbean 3, and

The basic approach is still exactly the same, it's not just water,

fluids are more than just liquid to computer nerds.

They also include gases, flames and volumetric effects, which make us a little

suspicious about what your resident Geek Squad employee might have in his thermos.

Without ILM in the Perfect Storm, we wouldn't have the wonderful, lifelike and

incredible physics simulations in films that we have today.

>> CineFix Host: Next up at number eight, we have to pay homage

to the incredible VFX contributions of Peter Jackson and

In addition to innovations in water effects, character animation,

fire effects and digital camera movements,

we'd like to honor the first-of-its-kind work on crowd effects.

And the first-ever movie use of artificial intelligence for

the members of their giant digitally rendered armies.

Beginning in 1996, Peter Jackson had his workshop begin working on a program called

"Massive", which was used to create enormously complicated crowd animations

with digital characters numbering up to 70,000 for his upcoming films.

Each character is randomized with a variety of traits.

>From their size and proportions, to their outfits and dirtiness,

Then, each character is given a range of actions that they can do,

in the form of between 150 and 350 different animations for each.

All of this is processed by every single characters digital brain.

That combines up to 8,000 different criteria to makes it's decisions,

including the abilities to digitally see and

hear resulting in their ultimate decision action and thus, animation.

The result allowed digital artists to place starting points for

their Orcs and Elves in scenes like Moria and Lothlorien, and let them loose,

resulting in characters that independently scale pillars, picked fights and taunted

members of the Fellowship, all while appearing to be individually animated.

It's a mind blowing technology that its becoming industry standard for

crowd animation and it represents one of the biggest landmarks in the animation of

>> Speaker 4: It's a match we found it >> Speaker 5: Yes, the sixth, the spirit.

>> CineFix Host: Of course, if you heard The Lord of the Rings and

immediately thought about Andy Serkis' pioneering work as MOCAP artist,

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21世紀のVFXイノベーショントップ10! (Top 10 VFX Innovations in the 21st Century!)

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