In light of the recent release of Denis Villeneuve's adaptation of Frank Herbert's science fiction novel, we've decided to take a look back at the original 1984 version, which despite having its flaws, actually had some pretty good practical effects for its time. Like the music in this video? Get it on iTunes: ► https://apple.co/2ENGfu9 ◄ Listen on Spotify: ► https://spoti.fi/3boTfCl ◄ Buy it on Amazon: ► https://amzn.to/2QVJZfk ◄ More than 70 sets, around 1700 people, over 8000 costumes, and $40 million went into this film. Originally is was going to be shot in many locations all over the globe but it ended up being shot in Churubusco Studios and the desert of Samalayuca near Ciudad Juarez in Mexico. Although this decision meant that all the filming locations were close together and easy to get to, due to Mexico's limited resources at the time, a lot of materials necessary for the production had to be brought in or imported from Los Angeles. Miniatures. A lot of miniature sets and models were made for this film, visual effects legend, Emilio Ruiz del Rio was flown in from Madrid to work on the film and together with his assistant they got together a workforce and a studio and began building scale models. They built the 16ft by 8ft (4.9m by 2.45m) rock cliff extension for the scene where Paul and his mother flee, and a scale model of the exterior of Castle Caladan. They built a scale model of the strong wall and desert for the scene when thousands of Freman leave, this included dozens of 2.5-inch dolls (6.5cm) made from latex, these dolls were connected by a series of drive belts running parallel to each other and guided by channels cut into the wooden bases, this allowed them, with the help of a crank wheel, to create the illusion that the dolls were marching out into the desert. Sandworms. 15 rubber Sandworm models were made to different scales depending on the scale of the set they were to be used on, the largest of them were 22ft long (6.7m) and 3ft in diameter (90cm). The worms were first sculpted in clay, then molded in plaster, a latex rubber skin was cast which was then packed with polyfoam. The larger versions were capable of opening their mouth to reveal their teeth and lifting their heads up and moving them from side to side, the medium-sized worms could gyrate but couldn't open their mouths and the smallest were just used in the background. For the close-ups, two worm sections were built, a tail section that was 20ft long (6m) and 3ft in diameter (90cm) and a head and neck section that was 12ft long (3.6m) and 5ft in diameter (1.5m). In the film, there are approximately 125 shots involving the worms and most of these were shot on an indoor set constructed on Churubusco's Stage 4. The set itself was a semicircle, 100ft wide ... https://www.youtube.com/watch?v=Jx4igAUkRTI

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/ ◄ Twenty-eight VFX vendors contributed to the effort Key vendors for Season 4 included Rodeo FX, Important Looking Pirates (ILP), Digital Domain, DNEG, Lola VFX, Crafty Apes, and Scanline VFX. 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 ◄ The Demobats are a new menace introduced in Season 4. They started with concept artwork from Michael Maher and did animation tests because the creatures had to somehow walk and climb like a spider but then fly like a bat or a large bird. The rigging was the biggest challenge because the creature can do so much with its body, even use its multiple tails to grab and strangle. The Demogorgon in Season 4 had to be refined. The proportions of its arms and legs were changed so that its ankle position was higher up the leg and its arms were elongated so that it could slash and (because it was now a prisoner) they also made him a whole lot leaner. This shot was DNeg's most difficult shot and therefore their biggest challenge. It had five different plates, four live-action characters, 1,600 frames, over a minute and a half in length, three CG bats in a CG environment, and all with a constantly moving camera. From the roto and prep, to the body and camera tracking, and stitching of the multiple plates, to specific animation of the bats and EFX, the complex shot took 5 months to complete. One of the most challenging and iconic environments was Vecna's Mind Lair. Rodeo FX built close to 200 shots in that environment. It was a real challenge to come up with an environment covered by spires, fog, and sudden storms. Scanline had to create rifts of all shapes and sizes so it was challenging to find a look that worked in all contexts. They settled on a formula of 5 elements: RBD simulations, fleshy mold that spread from the sides of the rifts, an organic membrane that spanned the gap, vines that slithered out from below, and red volumetric lighting coming from the Upside Down. The Mind Lair was actually a semi-practical set so Rodeo took a procedural approach based on the LiDAR scan of that set. That way they were able to keep the look and feel of it while generating a seemingly infinite environment. It was a large volume of shots with a lot of art direction, and a real test for their compositing team. Vecna started out as concept artwork that was digitally sculpted and adapted to fit Jamie Bower's physical dimensions. This digital model was then 3D printed to make the practical suit he wore on set. This scene was actually shot without reference points or stand-ins to play the Demogorgon, so the animation team had to animate their digital asset in order to make it coincide with the camera movements, the timing, and the choreography of what they shot on set. Stranger Things Season 4 was meant to be bigger, better, and more intense than any of the previous seasons as they ramp things up for the final season, and it looks like they achieved that. It has a longer run time, a higher shot count, and a higher budget. More than 4,000 visual effects shots spread over about 13 hours in nine episodes and a total estimated budget of around $270 million! But Stranger Things VFX shots haven't just grown in quantity, they've also grown in quality, complexity, and variety. With any series that becomes a hit, there is always a risk of overusing visual effects in an attempt to make the story more impressive, to increase the consequences, and to make the audience feel like they're getting more bang for their buck. But Stranger Things VFX are there simply to serve the story and as the story itself becomes more deep and complex, they do to. This has not only left us thoroughly impressed by the current 4 seasons but desperately impatient to see the last. The above ActionVFX link contains a Special Fame Focus Discount. We also earn an affiliate percentage of each purchase. #strangerthings #vecna #milliebobbybrown #sadiesink #eleven #demogorgon #demon #netflix #series #moviescene #vfx #vfxbreakdown #makingof #behindthescenes #bts #strangerthingsbts #movie #film #filmmaking #filmmaker #cgi #trending #video #videooftheday #jamiebower Read more here: www.famefocus.com Follow us on Twitter: https://twitter.com/focusfame ... https://www.youtube.com/watch?v=tbMlRecXVS0