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Why Marvel Movies Secretly SUCK! Guardians of the Galaxy VFX Breakdown
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After recent releases such as Antman And The Wasp: Quantumania, Black Panther: Wakanda Forever, and Eternals, many MCU fans are complaining that Marvel's films seem to be getting worse and worse because they're too reliant on "CGI".
But is this actually true?
We're gonna show you proof
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Guardians of the Galaxy had a total of over 2700 VFX shots! this means over 90% of the movie had some sort of digital effect or another,
and yet,
it is one of the highest-rated films in the modern MCU era!
So why do Marvel's latest films seem like they are failing to hit the mark?
Are Marvel's VFX really to blame?
and how did Guardians of the Galaxy captivate us despite its heavy reliance on CGI?
For Phase 1 Marvel released 6 films over a 4 year period
For Phase 2 they also released 6 films but this time in just 2 years
Phase 3 was 11 films in only 3 years,
Phase 4 was 7 films and 11 Disney plus series in a year and a half!
and Phase 5 will be at least 6 films in less than a year!
So Marvel's movie output continues to increase every year in order to cover public demand and to continue to increase their profits
This means that Marvel has to have incredibly tight deadlines so that it can stagger its releases throughout the cinematic year.
This puts a tremendous strain on VFX companies to complete an increasingly higher number of VFX shots before these increasingly restrictive deadlines.
But that's not a bad thing, is it?
I mean, more work, more money, you can always just hire more VFX artists, right?
Well, in theory at least, this is correct...
That is...
as long as Marvel is willing to front the bill...
Ironman was released in 2008 with less than 1000 VFX shots and a budget of around $180 million.
Guardians Of The Galaxy was released 6 years later in 2014 and had a slightly smaller budget of around $170 million, but triple the VFX shots
Thor: Ragnarok was released 3 years after that in 2017 with a budget (like Guardians) of $170 million, and, like Guardians, over 2000 VFX shots.
and Captain Marvel was released in 2019 with again, a budget of around $170 million and over 2000 VFX shots.
So it seems that even though these films were demanding more visual effect shots on an increasingly tighter timeline, the budget available for them has remained pretty much the same or perhaps even gotten worse.
especially if we take into account,
that since 2008 everything else seems to have gone up in price,
that Robert Downey Junior went from a base pay of $2.5 million for Ironman in 2008 to $75 million for Endgame in 2019,
and that thanks to inflation, what used to cost $70 back in 2008, today, would now cost around 100!
so this begs the question,
How are VFX companies managing to produce more VFX shots, in less time, and for less money?
and the short answer is, that they aren't really.
Yes, they've scratched around looking for workarounds:
-advances in technology and the use of A.I. in software have made certain time-consuming processes a lot faster,
-setting up shop in certain countries gives them tax benefits and incentives,
-and using cheaper labor from countries like India helps them lower the overall cost.
but these are just temporary fixes, and a lot like putting band-aids on a gangrenous wound.
The truth is that the VFX industry is run on such a tight shoestring budget, that when Marvel inevitably makes their last-minute changes, additions, and adjustments there just isn't the manpower or time left to perfect them and this leads to Visual effects like:
some of the Goose the cat shots in Captain Marvel:
Some of the Rhino shots in Black Panther
Bruce Banner's floating head in Avengers: Infinity War
and perhaps most famously, the final fight between Killmonger and Black Panther
but, as you may have noticed, these poor visual effects appeared in some of Marvel's most successful movies,
so why were these movies loved despite their CGI flaws, whilst other movies were hated because of them?
So you could say this video is proof
well, that's why we picked Guardians Of The Galaxy for this video, because, despite having visual effects in over 90% of the movie and two of the five main hero characters being 100% CGI, it is still loved by the vast majority of MCU fans.
#guadiansofthegalaxy #marvel #mcu #vfx
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After recent releases such as Antman And The Wasp: Quantumania, Black Panther: Wakanda Forever, and Eternals, many MCU fans are complaining that Marvel's films seem to be getting worse and worse because they're too reliant on "CGI".
But is this actually true?
We're gonna show you proof
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 ◄
Guardians of the Galaxy had a total of over 2700 VFX shots! this means over 90% of the movie had some sort of digital effect or another,
and yet,
it is one of the highest-rated films in the modern MCU era!
So why do Marvel's latest films seem like they are failing to hit the mark?
Are Marvel's VFX really to blame?
and how did Guardians of the Galaxy captivate us despite its heavy reliance on CGI?
For Phase 1 Marvel released 6 films over a 4 year period
For Phase 2 they also released 6 films but this time in just 2 years
Phase 3 was 11 films in only 3 years,
Phase 4 was 7 films and 11 Disney plus series in a year and a half!
and Phase 5 will be at least 6 films in less than a year!
So Marvel's movie output continues to increase every year in order to cover public demand and to continue to increase their profits
This means that Marvel has to have incredibly tight deadlines so that it can stagger its releases throughout the cinematic year.
This puts a tremendous strain on VFX companies to complete an increasingly higher number of VFX shots before these increasingly restrictive deadlines.
But that's not a bad thing, is it?
I mean, more work, more money, you can always just hire more VFX artists, right?
Well, in theory at least, this is correct...
That is...
as long as Marvel is willing to front the bill...
Ironman was released in 2008 with less than 1000 VFX shots and a budget of around $180 million.
Guardians Of The Galaxy was released 6 years later in 2014 and had a slightly smaller budget of around $170 million, but triple the VFX shots
Thor: Ragnarok was released 3 years after that in 2017 with a budget (like Guardians) of $170 million, and, like Guardians, over 2000 VFX shots.
and Captain Marvel was released in 2019 with again, a budget of around $170 million and over 2000 VFX shots.
So it seems that even though these films were demanding more visual effect shots on an increasingly tighter timeline, the budget available for them has remained pretty much the same or perhaps even gotten worse.
especially if we take into account,
that since 2008 everything else seems to have gone up in price,
that Robert Downey Junior went from a base pay of $2.5 million for Ironman in 2008 to $75 million for Endgame in 2019,
and that thanks to inflation, what used to cost $70 back in 2008, today, would now cost around 100!
so this begs the question,
How are VFX companies managing to produce more VFX shots, in less time, and for less money?
and the short answer is, that they aren't really.
Yes, they've scratched around looking for workarounds:
-advances in technology and the use of A.I. in software have made certain time-consuming processes a lot faster,
-setting up shop in certain countries gives them tax benefits and incentives,
-and using cheaper labor from countries like India helps them lower the overall cost.
but these are just temporary fixes, and a lot like putting band-aids on a gangrenous wound.
The truth is that the VFX industry is run on such a tight shoestring budget, that when Marvel inevitably makes their last-minute changes, additions, and adjustments there just isn't the manpower or time left to perfect them and this leads to Visual effects like:
some of the Goose the cat shots in Captain Marvel:
Some of the Rhino shots in Black Panther
Bruce Banner's floating head in Avengers: Infinity War
and perhaps most famously, the final fight between Killmonger and Black Panther
but, as you may have noticed, these poor visual effects appeared in some of Marvel's most successful movies,
so why were these movies loved despite their CGI flaws, whilst other movies were hated because of them?
So you could say this video is proof
well, that's why we picked Guardians Of The Galaxy for this video, because, despite having visual effects in over 90% of the movie and two of the five main hero characters being 100% CGI, it is still loved by the vast majority of MCU fans.
#guadiansofthegalaxy #marvel #mcu #vfx
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
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"One-Shotters" are scenes or sequences, or sometimes even entire movies that have been filmed as one continuous shot, or edited to appear as though they were.
In previous videos, we've talked about how VFX helped to achieve this one-shot feel in the film 1917 and some of the dangers they underwent in order to achieve it in the 2020 film Extraction, but we've never dived deeper than that. In this video, we're going to take an in-depth look at the tremendous amount of planning involved in making a "One-Shotter", the problems that occur and have to be overcome, and the techniques they use to overcome them.
In the case of the 2020 film Extraction, the room he runs into is actually here is actually in a completely different building 10 blocks away.
Or as is the case of the 2015 film Spectre, the Parade that James Bond walks through is in Mexico but the hotel room he ends up in is actually a set in London, England.
In order to achieve this effect seamlessly, ironically, they actually have to put in "A Seam".
Stitching is a technique used where the filmmakers basically find, or create a common area or image in both shots and use this as a "Seam" or "Stitching Point" for both shots.
For example, in Extraction the stitching point was the frame of the door he uses to enter the room, in Spectre it's the doorway into the hotel, and in the 2017 film Atomic Blonde, they actually built a fake elevator they could use as a stitching point in order to get the protagonist up to the top of the stairs quickly.
Following a timeline.
In general, when shooting one long continuous take, it has to be shot in chronological order, for example, in a fight scene the characters will start the scene relatively unharmed, as the scene progresses they incur more and more damage, this means that the actors make-up has to be changed and their clothing has to be ripped or damaged or stained with blood.
Changes to the set and props.
Just as changes have to be made to the characters as they progress through the timeline of a scene, the set must also have changes made all while the camera is rolling.
In episode 3 of the 2018 series Kidding, the director wanted to do a one-shot timelapse scene to show the transformation of the protagonist.
Making space for the camera.
Whereas in the "Kidding" scene, the set, the props, and indeed the entire scene had to be planned around the areas where the camera wasn't going to be, In One-Shotters y
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Midway is a war film based on the attack on Pearl Harbor, and the following Battle of Midway during World War II. In any historical war film, extensive VFX is needed, but the Midway battle not only took place at sea but also in the air, meaning VFX would be a massive part of the film.
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Pixomondo
One of Pixomondo's biggest jobs was creating 3D assets, lots of them, Aircraft carriers, escorts, cruisers and destroyers, detailed reproductions of two Japanese aircraft carriers and the Japanese airbase at Taroa island which required over 160 unique props, from military buildings to watchtowers, to sandbags. The crowning piece had to be the tremendously detailed reproduction of the USS Enterprise which was made up of 136,360 separate pieces and 45.2 million polygons. Simulations of the bow wake used over a billion particles!
When depicting a naval battle, a lot of shots have the ocean in them so creating a realistic ocean is critical. Pixomondo's oceans were built using a combination of shader-based approaches for distant seas and full simulations for close-ups. White water and wake simulations were built in Houdini adding extra green "aerated" water to the disturbed areas to add realism. Artists could then place these pre-computed sims in the scene. A surprising challenge was the shots that look straight down at the ocean because it turns out that in real-life, an ocean viewed from above looks fake and boring, so creating a look that was real and interesting was surprisingly difficult.
Scanline
Scanline worked mostly on 4 different sequences: The Pearl Harbor attack, The Doolittle Raid, The Carrier hunt (where torpedo bombers attempt to attack the Japanese aircraft carriers), and The last mission.
To be able to complete so many scenes Scanline used various tools to help streamline their workflow. For the Pearl Harbor environment, Scanline established early on what would be visible in the scene and this enabled them to define what would have to be a 3D build and what could be projected matte painting. For the actual Attack, the same streamlining process was used but in addition, Scanline used their new "Multi-shot" setup which allows for batch simulations and renders of templates, and with this, all shots with similar effects could be run in an automatic way.
Scanline also identified early on what main FX elements would be needed, so they could create template set-ups for plane fires, explosions, and tracer fire that could be propagated into shots automatically and then simulated on their own.
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These days, the term “blockbuster” is so common in the film industry that it has taken on a meaning all its own. But how did the blockbuster reach such an honored place in Hollywood culture? Well to answer that question, here's the history and evolution of the summer blockbuster
1975
When the film Jaws was first released, word of mouth spread so quickly that people were incredibly eager to see a showing. Crowds would line up hours before showings. Lines would often wrap around the entire block. As a result, the term “blockbuster” was coined to refer to a movie that inspired such avid devotion that traffic around the block where the theater was located was effectively “busted”.
1977
Studios didn’t fully commit to dreaming up big budget pictures designed to dominate the summer until George Lucas released Star Wars. Star Wars allowed for new film technology to take center stage. When the sequels to Star Wars opened at three and six year intervals, the Hollywood movie franchise was born.
1986
Tom Cruise cemented his popularity as one of Hollywood’s favorite actors — a decision so final not even his insanity can undo it — with his leading man turn in Top Gun. The movie blended million-dollar set pieces, melodramatic moments that would, ahem, take your breath away, and an iconic pop soundtrack.
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Blade Runner 2049 won the 2018 Oscar for best visual effects. 8 different companies worked together on over 1200 visual effects to create a seamless consistent feel throughout the film.
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What makes us think that an impossibly big, fictional monster is actually real? A lot of things go into making a CG asset sit properly in the real world, and indeed into making a real-life object sit properly within a CG environment, but perhaps the most important one of all, is light.
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What do you think makes a VFX shot look real?
If your plate photography is lit from left to right and your CG asset is lit from right to left it will instantly look wrong, if one is lit slightly brighter than the other, or if the shadows vary in darkness, if one has fewer light sources illuminating it than the other or if the light doesn't move across it as it does with other elements in the shot, it will look wrong.
So how do VFX artists make it look right?
well, before the invention of this Chrome Ball and HDRI, it was an extremely laborious, and not always fruitful process.
One method was to survey all the light sources on the set and then set up virtual light sources in the CG environment in approximately the same positions, attempting to match their intensities and colors manually.
Another way was to use a gray ball or a shiny ball on the set and use it as a guide to light your CG object in the same manner, so when you combine it with the plate photography it should look right.
and another technique is called Environment mapping, this technique requires taking a panorama from the position where you want to place the CG object, then calculate the position of each pixel in relation to the CG object you what to place in the shot and the brightness of each pixel or Pixel Value (this is a number ranging from 0, which is black to 255, which is white), this can also be done with photographs.
VFX artists would mostly use a combination of all of these techniques and even then, it was a very time-consuming process.
The Modern method is to use the chrome ball and HDRI's to create radiance maps.
If you look at this image of a Chrome ball you'll notice that in its reflective surface you can see almost 360 degrees around the ball.
In the reflection, you'll also notice parts that are completely saturated with light (they're at a value of 255 which is white) but the light's color may not actually be white.
If I shine a bright yellow light in your eyes you will see it as a blinding white light, even though its color is actually yellow. Objects that are illuminated by this light will therefore gain a yellow tone and not, a white one.
Here is where a HDRI comes in handy.
HDRI stands for High Dynamic Range Image and it's basically a combinat
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The Crown is a Historical Drama that has just come back for Season 4. "On the face of it", it may seem that a Historical Drama wouldn't be very VFX dependent, but in actual fact, VFX was not only necessary, but indispensable.
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One of Us
"One of Us" has been working on "The Crown" since the beginning. They were tasked with overcoming the two main problems that occur when producing Historical Dramas. The first is that they are set in the past, many buildings or iconic structures from that time have either disappeared or changed, or their surroundings have. These changes have to be identified and altered.
The second is that of "historical events", a lot of people lived through or saw these events happen and therefore their reproduction must be similar to the original. So these events must be researched in detail. If there were massive crowds, these must be reproduced, if certain vehicles were used they must also appear.
The Majority of work in the first two seasons was Digital set extensions, Environment extensions, Crowd replication, creating a CG aircraft, and of course, Buckingham Palace. Their two main priorities were making their work Photo-real and "Invisible".
Framestore
In season 3, Framestore joined the team to recreate Heathrow Airport as it was in the 1960s. To do this Framestore created several Digital matte paintings or DMP's of Heathrow as it was, concentrating on the instantly recognizable passenger boarding bridges from back then. This DMP was accented with crowds, ground staff, and flashing lights and added to the background of the live-action plates, artists then added a BOAC Aircraft CG Asset and several runway vehicles.
Framestore also worked on several shots of the Aircraft's interior, adding environments to window views.
In season 4 Framestore delivered 230 shots, which, In addition to big environmental jobs like creating a digital version of Ayres Rock, Sydney opera house, Mustique airport, and JFK Airport, Framestore also did a "deep fake" face replacement technique on the equestrian who stood in for the actress playing Princess Anne in the showjumping competition.
But by far the most complex and detailed work was creating a digital stag, which not only had to be "Photo"-realistic but had to be SO realistic that you don't even begin to think that it could be digital.
This was done by adding an incredible amount of detail, like hairs clumping together in the rain and little pieces of grass hanging off its antlers.
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In a future where the sun is expanding into a red dwarf and the earth is in danger of burning up, China comes up with a solution. Use 10,000 engines to move the earth to a different solar system 4.5 light years away. Though it may sound like a goofball movie it was 2019's highest grossing film and Netflix has picked up the streaming rights.
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Spacesuits
Weta workshop created multiple spacesuits, exoskeletons and weapons to be used by the actors, based on the director Frant Gwo and his teams initial designs these were both functional and practical giving them an authenticity which helped sell the VFX.
In total there were over 10,000 specifically-built props made for this film.
Special effects
Not everything was props though, over 2,000 special effects shots were needed and a substantial amount of CGI work.
Base FX, Bottleship VFX, Dexter Studios, Macrograph, More VFX, and Black Mondo all helped create the VFX for this movie with Pixomondo taking lead.
Pixomondo produced 216 shots including 50 full CG shots.
Pixomondo
Pixomondo had to produce 185 assets for this movie including the whole of the Shanghai city environment, the rescue bubble, cargo plane, the drone, the heroes' vehicles, the frozen canyon, and of course "the ice wall".
The dimensions of the Shanghai city were all "true to size" so the ice wall ended up being over 1,300ft and the total environment covered a 28 mile radius. for something so big Pixomondo had to build new tools and an entirely new scene management pipeline to be able to handle the workload of this project. in the end the ice wall was composed of 20 different modules which could be constructed depending on the needs of the environment.
Bottleship VFX
Bottleship built the sequence where the characters try to escape a frozen tower within shanghai city, the complexity of this scene was that the collapse was seen from both inside and out and shimmering glass had to look different to ice and also behave differently when smashing.
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