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Hollywood Turning Against Digital Effects (newyorker.com)
An anonymous reader writes: One of the easiest complaints to lob at a modern film is that the special effects look bad. It's been over two decades since Jurassic Park; the novelty is finally wearing off. The New Yorker puts it this way: "It's as if directors—especially the reboot generation—have finally become self-conscious about CGI; 2015 was the year they got embarrassed by the digital miracles of the movies." Both the new Star Wars film and Mad Max: Fury Road were lauded for their use of "practical effects" — not abandoning CGI entirely, but using it to embellish scenes, rather than creating them from whole cloth. "Movies are a faddish, self-quoting business. At one time, the stark lighting effects of the German Expressionists were the visual rage. Later, it was the helicopter shot or the zoom. Any new tool, once used promiscuously, becomes a cliché. As time goes by, a director rediscovers the tool, and what was once cliché becomes an homage to a distant and more cultured time. This is what has happened to the last, pre-digital wave of effects. They are now happily vintage." It also counts as marketing, when you consider that audiences are turned off by too much CGI: "Touting your movie's wood, concrete, and steel is an implicit promise of restraint. I didn't go totally wild, the filmmaker is telling the audience, not like Peter Jackson did in the Hobbit trilogy."
Digital effects aren't bad.
Half-assed digital effects are bad
One nice thing about practical effects is, if done right, they age extremely well. The dinosaurs from Jurassic Park, the aliens from Aliens, even set pieces like the sinking Titanic built in a giant pool or a model White House blowing up in ID4 all look just as good now as they did when their respective movies first premiered. But look at movies even just 5-10 years old that relied heavily on green-screen and other similar technology: they look horrible. The difference in quality, clarity, and movement between live actors and digitally added characters or backgrounds can now be incredibly jarring, and as technology (both in terms of creating/processing digital effects and the technology to display it) improves, what was once cutting edge and extremely lifelike or realistic feels completely outdated only a few years later.
The only thing necessary for evil to triumph is for it to be pitted against a slightly greater evil
As I happen to be someone who loves to tool around with CG artwork, you would think that I'd have no problems with it. If you think that, you would be wrong.
Unless the entire movie is CG from opening to credits, CG should always be used sparingly, like one could use a spicy sauce or pepper; enough to get the job done and enhance the flavor, but no more. Seriously - a little here and there to show things that would otherwise be impossible or prohibitively expensive to show is great if it's done right. If you just go for an all-out CG-gasm (*cough*Transformers*cough*), then expect to have your movie panned, or at least forgotten within a couple of days by the viewer.
I say this for two reasons:
1) The Uncanny Valley awaits, eager to trap any producer that over-does the CG in a live film (or goes crazy for 'realism' in it). Most folks just don't want to be revolted by the stuff unless the CG itself is central to the story (you know, movies about androids and stuff).
2) A good movie is not just the suspension of disbelief. Acting quality, Storyline, Plots, Chemistry, and more all factor into a great movie. Most of the best movies of all time contain no CG at all, and some even have no special effects... because the acting, story, and flow of the movie produce an inherent quantity of awesome. CG is not going to make up for any shortcomings in any of it.
Sure, some movies are going to need more of it than others. SciFi, Fantasy, and even horror flicks will demand a lot of eye-candy to help the flow. That said, CG should be secondary to the story, not the brain-whoring centerpiece of it.
Quo usque tandem abutere, Nimbus, patientia nostra?
Hopefully this means that the next Teenage Mutant Ninja Turtles movie is going to bring back the 80s-style turtle suits instead of using CGI ...
A return to normalcy would mean that Hollywood would stop assuming that all anyone ever wants to see on the big screen is yet another fucking sequel.
Fat fucking chance of that.
Aesthetics isn't simple as some technique being appealing or unappealing. The appeal of a technique depends on context. Chiaroscuro was the bee's knees in Baroque painting but it wouldn't work in a Cubist painting. Both kinds of painting have aesthetic appeal, but techniques that work in one don't necessarily work in the other.
Part of the aesthetic context is the audience and it's familiarity with the techniques being used. When perspective drawing came in painters vied to do the most elaborate depictions of converging lines; later perspective in itself wasn't as exciting to people. Perspective itself didn't necessarily go out of style, just ostentatiously poking the audience in the eyes with it.
I recently watched the Greedo-shot-first cut of Star Wars Ep IV, complete with Lucas's new effects grafted into the old movie. I concluded hate for this version isn't just about rewriting childhood memories. The new effects, while sophisticated in execution, were clumsily fit into the overall movie. Their look didn't go with the rest of it. The original movie was 100% film; the new cut switches jarringly between hyper-HD digital shots and grainy analog film shots. Thirty years ago the technology of the digital scenes would have enchanted us, but now we're used to the technology. The constant switching back and forth between digital and analog is almost like someone had grafted new color scenes onto an old black and white movie. When you watch an old B&W movie you forget there's no color because you're drawn into the story. Adding new color scenes would repeatedly draw your attention away from the story to the specific technology used for each scene.
The problem is the new technology per se, it's the artistically clumsy way it's been bolted onto this particularly movie.
I think we're at the point where we're no longer impressed by a scene just because of the computational resources it must have taken to render, and this makes many elaborate digital effects seem cheesy. I'm not entirely sure why; it may be an uncanny valley type effect, that the digital shots are so close to perfection that their subtle difference from real shots is more noticeable. Or it may be that the purely digital process for these effects encourages artistic sloppiness in a way that the older, more labor intensive techniques don't.
Post may contain irony: discontinue use if experiencing mood swings, nausea or elevated blood pressure.
It smacks more of hipster-retroism to me.
Confucius say, "Find worm in apple - bad. Find half a worm - worse."
That whole movie was just one giant gimmick., from the shameless degree of fan service to the breakneck-speed plot (no time for dialogue, MORE ACTION!!) to the politically-correct casting of Wonder Woman and Token Black Guy.
SJW's don't eliminate discrimination. They just expropriate it for themselves.
For me, the problem with the added original trilogy CGI effects were that they seemed to be added purposefully to draw our attention to them. Luke and company arrive as Mos Eisley. As they slow up, a big creature walks right in front of them - between them and the "camera" - obscuring our view of them. There is no reason story-wise for this obstruction. It's only there because Lucas decided he wanted us to say "Hey, look at that big creature. Lucas must be a genius for coming up with such a CGI creation." Instead, we wind up saying "Down in front! Get that thing out of our way so we can see the rest of the movie!!!"
This is the case in the prequels as well. In Episode 2, R2D2 and C3PO approach the droid factory and C3PO nears the edge. He's clearly Anthony Daniels wearing the suit. R2 bumps him over the edge and he manages to grab hold of a flying droid who plucks him up and shakes him loose. Now, he's clearly a fully CGI creation. There's a discontinuity between the two that jars you out of the story. (Not like there's much story to get jarred out of but that just means that keeping the audience immersed is much more important.) The scene could have been written to keep Anthony Daniels or a physical "stunt-C3PO" in it, but Lucas was so enamored with CGI that he just figured he'd use it for entire scenes to replace what the actors couldn't do. It came off looking like the movie was part-video game and not like the characters were actually still in the scenes.
My sci-fi novel, Ghost Thief, is now available from Amazon.com.
Overuse of CGI and unrealistic camera movements are turning live-action movies into live-action cartoons. There's a difference in your brain thinking you are seeing something real vs. seeing an impression of something real.
The software people who make those cutting edge packages still seem to have no clue about physics. You can't get away with animation-style non-physics in a photorealistic world with real physics. Arms don't swing right, cognizant, so to speak, of motor acceleration vs. their mass, with gravity tugging on everything.
And body flesh/fat rippling, again, they need better programmers instead of animators. If you look at it, and it looks fake, create a better virtal model with mass and stretch parameters to mathematically undergird the surface mesh distortions. Which themselves should have a skinlike physics.
(-1: Post disagrees with my already-settled worldview) is not a valid mod option.