Get some cool drag & drop VFX here! ► https://www.famefocus.com/go/getvfx/ ◄ Don't forget to visit OUR SHOP here! ► https://fame-focus-vfx.creator-spring.com/ ◄ In this video, we're going to take a look at just a few of the many VFX that went into Obi Wan Kenobi. But, as is the case with the majority of modern productions these VFX wouldn't have been quite as convincing or achieved in such a timely manner without previs work from The Third Floor. Like the music in this video? I made it! Support me by getting it on any of these sites :P Get it on iTunes: ► https://apple.co/2ENGfu9 ◄ Listen on Spotify: ► https://spoti.fi/3boTfCl ◄ Buy it on Amazon: ► https://amzn.to/2QVJZfk ◄ In addition to blocking and planning shots within each episode across several phases of filmmaking The Third Floor’s visualization work also included the creation of previs that the team could explore for camera and lighting, with some scenes blocked in real time in game engine. Image Engine delivered several sequences on the barren and mountainous Mapuzo. One of Image Engine’s first sequences in the episode captures Obi-Wan and Leia’s craft touching down on the planet. The first three shots of the landing sequence are 100% CG. Most of episode 3 was shot on location in California, so some shots required extensions rather than full CG creations. The landscapes were a combination of Lidar, photogrammetry, and hand-sculpted topography. Image Engine built a whole kit of Star Wars parts for these extensions including plants, rocks, and mountains and these were reused throughout several shots. They used Houdini to procedurally lay out the windy plants and Joshua trees. The sequence where Freck transports Obi-Wan and Leia toward the Imperial checkpoint had some unique challenges. The external shots may seem straightforward enough: just remove the vehicle’s wheels and add a CG extension to the underside, so it looks like it’s floating, right?   But removing the lower parts of the vehicle also meant recreating the plants behind it,  adding mountain extensions, and the CG vehicle extension, and any foreground plants, and some CG dust, and some extra Joshua trees and any other foreground action required in the shot. For the ride-along shots Image Engine used a combination of plates and CG backgrounds. Unfortunately, they didn't have enough contiguous plate footage to cover the length of the journey so they created a full backdrop valley using the real California location. Of course, the lighting conditions shot on the blue screen didn’t match the on-location lighting shot in California, so the plates had to be prepped and regraded to make everything work nicely. The checkpoint sequence had a wide variety work, vehicle work, laser blasters, dust FX, environment extensions, and full CG shots. They tried to keep as many practical elements as possible (like the on-location shoot, the Mining Rover, the tower, and Freck as the alien)  to help ground the sequence in reality For the Stormtrooper death shot, they layered a combination of sparks, heat, embers, smoke, and dust elements in order to give the effect enough realism without making it too disturbing. In episode five, Obi-Wan and Leia escape to the rocky planet of Jabiim. One of Image Engine’s sequences involved showing Vader’s two Imperial transports swooping down through crimson clouds towards the scattered, crater-like Path base. The hardest part was giving the planet the characteristic "Star Wars" look. They did this by using every other planet seen in previous Star Wars movies and television shows as reference. The other important aspect of obtaining that "Star Wars" feel was the camera language. They had to make sure the camera felt confined to the sort of motion control moves you could only achieve with miniature model shoots. Hybride artists created desert set extensions, that stretched approximately 30 meters wide, for the Tatooine Canyon environment using concept art provided by Doug Chiang The rock structures needed to be smooth and not too busy so they would blend in with the rock structures used on set during filming.   Hybride also recreated massive set extensions and extended backgrounds for the cliff environment, keeping as much of the foreground detail as possible. Hybride artists also helped transform a camel named Silas into a Tatooine Eopie (a mammalian herbivore native to the planet). (...) #obiwan #starwars #vfx #makingof #behindthescenes #bts #movie #film #filmmaking #moviescene #visualeffects #practicaleffects #starwarsvfx #vfxartistsreact #starwarstheory #starwarstrailer #starwarsvfxeditor #starwarsvfxbreakdown #vfxbreakdown #starwarsmovies #starwarssaga #georgelucas #videooftheday #trending #didyouknow #moviescene #obiwanscene #beforeandafter The above ActionVFX link contains a Special Fame Focus Discount. We also earn an affiliate percentage of each purchase. Read more here: www.famefocus.com Follow us on Twitter: https://twitter.com/focusfame ... https://www.youtube.com/watch?v=W_EAXIff9Ns

Grab Atlas VPN for $1.39/mo before the deal expires: https://atlasv.pn/FameFocus Filmmakers will use every trick they can to try and make us believe the story they're trying to tell. Whether these tricks are practical effects, visual effects, or camera tricks, filmmakers will always try to get as much real-life footage as possible to reduce the amount trickery needed, however, this can often result in some of the most dangerous looking scenes in the story of a movie also being some of the most dangerous to capture on film. Like the music in this video? Get it on Google Play:► https://bit.ly/2F10vbs ◄ Get it on itunes: ► https://apple.co/2ENGfu9 ◄ Listen on Spotify: ► https://spoti.fi/3boTfCl ◄ Buy it on Amazon: ► https://amzn.to/2QVJZfk ◄ Mission Impossible: Fallout. Jackie "The One Man Show" Chan, prefers to do all his own stunts and Tom Cruise is of a similar opinion, so for the Helicopter Battle Scene in Mission Impossible: Fallout, he had a lot of work to do. This scene required him to put his helicopter into a corkscrew dive, even though Tom has flown helicopters before, the corkscrew dive is a dangerous and complicated procedure, so he went to Airbus Helicopter school in Texas and put in 8 hours a day for almost 3 months to learn how to do it relatively safely. In order to make the scene more visually appealing and to show that Tom was really flying the helicopter, the team set up external camera rigs on the helicopter to film what he was doing. This wasn't the only dangerous stunt in this scene, at one point, Tom has to climb a rope up to the helicopter, then, 1200ft in the air, lose his grip and fall 40 ft down hitting the rigging below, and catching it just as he bounces off. Extraction. The 12-minute extraction sequence in this scene seems like one seamless 12-minute take, but this isn't exactly true, The sequence is broken down into 7 different segments, a car chase, a run upstairs, a fight inside the building, a jump from one building's roof to another, a fall of an awning, a street fight and the final car chase, these seven segments were composed of 36 different shots invisibly woven together using complicated stunts, invisible cuts, cameramen on foot and hanging from harnesses, and incredibly well-rehearsed fight scenes. Each segment was precisely choreographed, not only for the actors but for the cameramen too. At this point you are probably thinking " Dangerous Stunts in Movies, Where's Jackie Chan?" well the truth is the Jackie has been involved in so many different dangerous scenes that he deserves his own video.... and here it is https://youtu.be/c6Ww4gq3ZXc Expendables 3. When a film has action scenes, fighting, bullets flying, and explosions, danger is always present, so much so that during the filming of Exp ... https://www.youtube.com/watch?v=NEC14U-HtTw

Get some cool drag & drop VFX here! ► https://www.famefocus.com/go/getvfx/ ◄ Don't forget to visit OUR SHOP here! ► https://fame-focus-vfx.creator-spring.com/ ◄ Dubbed as a "Love Letter" to the classic, the original 1984 Ghostbusters. Afterlife attempted to capture the magic of the original movie and also bring it all into the 21st century Like the music in this video? I made it! Support me by getting it on any of these sites :P Get it on iTunes: ► https://apple.co/2ENGfu9 ◄ Listen on Spotify: ► https://spoti.fi/3boTfCl ◄ Buy it on Amazon: ► https://amzn.to/2QVJZfk ◄ In order to do this, rather than concentrate on making things look modern and hyperrealistic, they had to concentrate on making sure they didn't. The Proton Beam was something DNEG started working on early on when they had just begun principal photography. On the camera test day, they had McKenna in the full Ghostbuster outfit and with the proton pack and they did some tests adding interactive lighting on set. They started with something that was really similar to the 1984 version, including the colors, but after looking at the shot over and over they agreed that going toward something more advanced was a better choice. So instead of the original big, stronger core beam and the other one overlapping, now there are actually millions of particles that give that final look and extra noise added on top of it. This gave the proton beam a modern look that at its heart still feels like the original. All the ghosts started out as physical puppets built by Arjen Tuiten and his team. They hand-sculped a very accurate replica of the Terror Dog from the original movie using nearly 300 kilos of clay. They then used this as a mold for the foam latex "Skin" that would cover their animatronic puppet. This puppet they used for close-ups and shots where they didn't have to show its whole body or show it moving excessively. Then the VFX teams 3D scanned the Animatronic puppet and modeled their CG dog to look exactly like it. The CG Terror dog was used in the full-body shots and in sequences where it had to run and jump. In order to animate it they used a bull's behavior as a reference but also attempted to mimic the stop-motion animation look of the original movie. There are other Ghost effects in the movie that were completely practical, like the Miner Ghost in the diner and even the scene where Ivo Shandor gets ripped in two. Surprisingly enough, they actually built a puppet of J.K. Simmons and the entire effect was achieved practically. with the dummy requiring only mild paintwork to hide the pre-rip seam on the clothing. Gozer too was based on the 1984 version. And even though makeup took 5-1/2 hours to apply and consisted of various prosthetics, hair work, lenses, and a suit, in the end, the dynamics and lighting they had to add to give Gozer a powerful and menacing presence on set meant that a fully digital suit was preferred. So Gozer from the neck down was CGI. This also allowed for a more surreal appearance as the team could lengthen her limbs. And while the team remained faithful to the performance, the composited face was often placed higher in the shot, and the leg and arms lengthened. As you can see here they slightly elongated her waist, arms, and legs, and made the body details a bit more translucent enhancing it all with bursts of energy traveling through her body. But the most rewarding effect in Afterlife was also perhaps the most important, the most complex, and the most touching. Harold Ramis who played Egon Spengler in the original Ghostbusters movie had sadly passed away 7 years before Afterlife was released but this "Love Letter" to the original could not be written without him. One of the main problems was that the VFX teams didn't have any data for Harold, no life cast, no body scans, and no possibility of getting them. Because we didn’t have any tangible data to start with, they decided the best approach was to first build a Digital Remis as he appeared in the 84 movie. So they did high-res digital scans of the negatives of the original film and using single frames they built an exact replica of Remis, with a full set of expressions. Then they comped him in a shot of the 84 movie with Dan Aykroyd as a test to prove they had a near-perfect base before they began the aging process. (...) #Ghostbusters #vfx #makingof #behindthescenes #bts #movie #film #filmmaking #moviescene #visualeffects #practicaleffects #BillMurray #vfxartistsreact #vfxbreakdown #videooftheday #trending #didyouknow #moviescene #beforeandafter #afterlife #ghosts #ghost #Ghostbustersafterlife #EgonSpengler #HaroldRamis #Gozer #DanAykroyd #FinnWolfhard #sequel The above ActionVFX link contains a Special Fame Focus Discount. We also earn an affiliate percentage of each purchase. Read more here: www.famefocus.com Follow us on Twitter: https://twitter.com/focusfame ... https://www.youtube.com/watch?v=JlgEAl0HU5k

Like the music in this video? Get it on Google Play: https://play.google.com/store/music/album/Monkey_Media_Monkey?id=Bowcdm4d3e27oxtldklnn7ynwju&hl=en_US Get it on itunes: https://itunes.apple.com/us/album/monkey/1457690282 Listen on Spotify: https://open.spotify.com/album/586QYqFHlsq3IJEMjt8nyB Buy it on Amazon: https://www.amazon.com/Monkey-Media/dp/B07NRQCQ7Y/ref=sr_1_2?keywords=monkey+media&qid=1554364061&s=gateway&sr=8-2 Read more here: www.famefocus.com Follow us on Twitter: https://twitter.com/focusfame ... https://www.youtube.com/watch?v=2FlAMpSGz4k