Get some cool drag & drop VFX here! ► https://www.famefocus.com/go/getvfx/ ◄ Have you ever wondered why some VFX in older movies, like for example this shot in Pirates of the Caribbean 3 , look far better than the ones in newer, more modern movies, like this one in Black Panther? Even despite the technology being a lot more advanced nowadays, we still often see big Hollywood movies with crummy looking CGI that almost seems as though it's been stuck on with old duct tape as an after thought. 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 ◄ ❗️ http:// amzn.to are Affiliate Links. If you buy something through them, nothing changes for you, but you support my work. But, there is actually a very good reason for this and the VFX companies aren't actually to blame for it either. You see, of course, VFX technology has its limitations, and any director or VFX supervisor who respects this, also knows that the best visual effects happen when you use practical effects as the base and digital effects to enhance and augment that base. This is true for three main reasons which were beautifully demonstrated in Pirates of the Caribbean 3 At Worlds End. 1, Grounding If we see something in a shot that is obviously real, it makes it easier for us to accept something within that same shot that may not be so. For example, before the Endeavour gets destroyed, this shot makes us believe that it's being sandwiched between the Black Pearl and the Flying Dutchman, But in reality, the only real ship here was The Black Pearl! The Endeavor was actually a 16ft miniature that was shot in front of a blue screen and the pyro elements were shot on a larger miniature on a separate plate. However, The Flying Dutchman, that was 100% CGI. The other two ships here were used to help frame the shots and to create realistic water interactions for The Endeavour miniature model and The Flying Dutchman CG asset, thus making us believe they were really sat on the same ocean. So, after cleverly tricking us into believing that The Endeavour was really getting shot at from both sides, they now had to make us believe it was really exploding all around Cutler Beckett, and this again was done by selling us one reality and then adding to it. First, on a partial set of the deck, they shot the actors and stuntmen abandoning ship, Then explosions and air cannons full of debris were carefully positioned and choreographed to follow the action and filmed on a separate plate. Then they did a motion control shot of Beckett going down the stairs and that motion control shot was used to time all the pyro events so that, when both shot were composited, they would follow Beckett precisely as he descended the stairs. These shots were then composited along with the backgrounds, CG debris and dust and smoke, additional digital explosions and fire, and of course the digital replacement of the banister and its subsequent destruction complete the illusion. 2. Better Acting The second reason for using practical effects as a base is that they give the actors something physical to work with so their interactions are more realistic and therefore make us believe that what we're seeing on the screen, is really happening. For example, In this sequence, a mini Jack Sparrow is hanging from one of big Jack's dreadlocks. In order to give Johnny Depp something to interact with, they actually built a huge set of dreadlocks for him to hang from and even raised one dread in the air in order to give it some movement. Another example is the crab scene that was filmed out in the Bonneville Salt Flat in Utah. Obviously, for this scene, they couldn't just haul the black pearl all the way out there (even if they had all of Mr. Greens' relatives to help) but Johnny still had to be able to interact with something physical, so rather than have him mime or fake it they gave him a rope to interact with. Fun fact, it was actually tied to a cherry picker. The importance the filmmakers gave to these physical interactions really shows in the Maelstrom battle scene. Because even though the scene would require dozens of actors and stunt people, to interact with dozens of CG characters, in a fight scene with explosions and rain, and people swinging to and fro two different ships, inside a massive whirlpool of CG water... They still tried to do as much as they could practically. (...) 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=t8Bj5nAsWF8

Get some cool drag & drop VFX here! ► https://www.famefocus.com/go/getvfx/ ◄ Alien is a classic film that has stood the test of time so well that it's hard to believe that it was released over 40 years ago, back in 1979. As with almost every classic film, it has shots that have become movie legend, and, as happens with almost every legend, it has also created some myths. 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 ◄ Ridley Scott wanted to make B movie sci-fi horror film that felt like a high-budget movie, but, in order to accomplish this with a meager budget of $8.2 million, he had to really think about what they absolutely had to spend money on and what, with ingenuity and clever solutions, they could get away without. He began by clearly separating the human world from the alien world and he did this by using two completely different styles of artists and having each create their own world. Everything to do with the human side of things, from the spacesuits to the safety symbols on the Nostromo, was designed by Ron Cobb, Chris Foss, and Michael Seymour and his team. Ridley wanted the interior set of the Nostromo to be like a rabbit warren, with lots of different corridors connecting different rooms so that the actors couldn't exit the set without having to walk through the entire thing. Ridley wanted this so he could make the actors themselves feel trapped and claustrophobic and therefore better transmit the feeling of having nowhere to escape to and nowhere to hide. So instead of building individual sets for each room, the sets of the Nostromo's three decks were each created almost entirely in one interconnected piece. Unfortunately, this meant that they didn't have any long corridors to help establish the magnitude of the Nostromo itself. So, rather than pay out more money for longer corridors to be built for shots like this one, they positioned a mirror at a slight angle at the end of their short corridor to show a reflection and make it appear a lot longer. To establish the external scale of the Nostromo, Ridley didn't have enough money to build the landing leg as big as he wanted, so he had a 17.5-meter-high one built and he had 3 child-sized spacesuits made, these suits were worn by a cameraman's son and ridley's own sons, Jake and Luke. Then by "over cranking" (which means shooting at a higher frame rate than the rest of the film) and playing the footage back at the film's slower frame rate, the children's movements appeared to be slower and have more weight and therefore, looked more adultlike. Everything to do with the alien side of things, from the architecture to the xenomorph itself, was designed by the swiss artist Hans Giger The actual xenomorph's design came directly from Giger's art book, "Necronomicon". Roger Dicken worked on building the models for the Face-Hugger, the Chest-Burster, and originally the Xenomorph itself, however, differences of opinion between the producers and the filmmakers over how the model should look and move caused too much stress, and he resigned from working on it. The main problem they have was with the xenomorph's mouth mechanism because they couldn't get it all to work nicely together without having visible springs on the outside of the puppet and making the head a lot wider than Ridley actually wanted. To solve this they realized that they'd have to spend out and acquire the help of the special effects legend, Carlo Rambaldi. Rambaldi removed the unnecessary lip movements and concentrated on what he saw was important, the mechanisms for the mouth to open, for the tongue to slide out and then for its own mouth to open, and to make the whole thing small enough to leave a cavity for the actor's head. To give the Alien its viscous and visceral look they used dozens of industrial-sized tubes of Ky jelly. Ridley Scott however, was trying to capture as much as he could in-camera, so just like the Nostromo interior set, the egg chamber set was also built at Shepperton Studios. Interestingly enough, this blue laser was borrowed from "The Who" who were testing lighting for their live shows on a neighboring sound stage. The eggs were designed with an aperture at the top that could be opened hydraulically. The internal and detailed shots were filmed at Bray Film Studios after principal photography was finished. (...) 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=VIceLvCGvhg

Get some cool drag & drop VFX here! ► https://www.famefocus.com/go/getvfx/ ◄ When you´re working with visual effects, bluescreens, mo-cap suits, and monsters that don´t really exist, you have to be prepared to look like... well... 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 ◄ So rather than take things too seriously, actors find it's always better too... Cate Blanchett had to imagine the CG blades coming from her hands but she couldn't stop making these noises when acting out the scene so she was given sugar packets to throw instead. Karl Urban (who played Skurge) was training so much that the director Taika Waititi told him to tone it down because he didn't want him to be bigger than Chris Hemsworth. Taika Waititi didn't just direct Thor: Ragnarok, he also provided the Mo-cap and voice-over for Korg, the Mo-cap for Surtur, and the voice and facial features for this guy! Chris Hemsworth collects hammers from every Thor film he's been in and currently has more than 5! In fact, one of them is going up for auction on July 15th. Tom Hiddleston plays Thor's half-brother "Loki". Interestingly enough, thanks to his offscreen friendship with Chris Hemsworth he has been made an "Honorary Hemsworth Brother". During downtime on set, all the Avenger's actors would play Boggle together. Paul Rudd would win most games and the loser, was normally Mark Ruffalo. The Jane slapping Thor scene took over 30 takes to get right and the punching Loki scene took 5. 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=ERSerHOwF0Q

Read more here: www.famefocus.com Follow us on Twitter: https://twitter.com/focusfame 10 Creepiest Celebrity Stalker Stories Some fans take their obsession with their favorite stars way too far. Many of these celebrity stalkers are suffering from mental illnesses causing some celebs to even fear for their lives! Here are ten of the creepiest celebrity stalker stories. 1. Jennifer Lawrence ... https://www.youtube.com/watch?v=KqaMeBAFMRg