#visual effects practice

[captainchaosartworks]

Retro PC Games #21: Rebel Assault II: The Hidden Empire

Recently replayed Rebel Assault II on stream, so I drew the Tie Phantom: One of my favorite craft in the verse. Imagine my surprise when it popped up in Empire at War! 🌕🌌⚡️

Still a lot of fun. Sometimes you just want to play a rail shooter, y'know?

Posted using PostyBirb

[poorly-drawn-mdzs]

I came here for the silly haha doodles, but I've stayed for the absolutely blazing commentary in the tags. Your analysis of this story is so so so good! Thanks for all the work and thought you put into this!

I am just a silly little comics blog. I am not hiding anything in the tags, no way. Never.

[jackfromthefairytale]

you're in the walls that I made with crosses and frames hanging upside down for granted, in vain, I took everything I ever cared about

BAD OMENS - The Death of Peace of Mind [2021]

dir. Orie McGinness

[robsheridan]

Painting with light for the Pearl Jam Dark Matter tour visuals, one of the many ways we used practical film techniques to bring analog humanity to the show.

Get a closer look at my visual work for Pearl Jam, and some rare photography prints for a good cause, at The Art Of Dark Matter exhibit at the Cove Gallery, Ohana Festival, Sep 26-29.

“Crown of Light” Directed by Rob Sheridan Produced by Stephanie Sheridan Post production, animation, and compositing by Joybird Studios Camera Operator: Donovon O'Neil PA: Ilana Rahaman Filmed at Rob Sheridan Productions, Tacoma, WA. Based on the Dark Matter album art light painting photography by Alexandr Gnezdilov

Tour production design by Spike Brandt / Nimblist Tour lighting director: Kille Knobel Tour video programming: Grant McDonald

[sundrykitsch]

writhing on the floor because i thought about art for a second too long

[jotawaifu]

Kiss Art Challenge 01 - First

[adelidae]

my 2024 in art!

can't help but feel sentimental looking at this because i've grown so much with my art this year. going from drawing once a month to branching out into digital art has been a really cool experience and i'm really happy with how i've progressed! here's hoping that in 2025 i learn even more and am able to create more art that i love :]

-

july - primrose baskerville | @destructix

august - hayes highwater & b | @arcadechan

november - oksana | @lionwheat

[of-fear-and-love]

La Belle et la Bête / Beauty and the Beast (1946)

[l-ultimo-squalo]

Deep Rising (1998)

[bassboosted-moon-chao]

Ẇ̸̨̪̰̳͚̱̦̚͝E̸͉̖̰̖̺̫̼͉͗͊͜͠L̷̨̞͍̲̺̋͑̀̓͝͝͠C̸̝̔̋̉͜O̸̦̠̰͔̻̻̽͒̃̌́̋̈́̌͘M̸͔̯̎͐͆̿̇̈́̀͘̚͝Ȩ̶͎̻͚̠̝̉̀̿̆͋͗̑̋̒͜ͅ ̵̨̨̩̩͇̦̯́̓͗̅T̴̛̮̘͚̬̠̝̹͚̩̞O̶̪̪̤̫͙̞̻͛̈́̒́̓͝ ̶̢̡̡̼͕̯̤̿̔͆̽̈́̅T̵͚̊̾͛H̸̙̮͓̣̠̊̆̃͌̒͂͝͝͝͝ͅE̸̤̰̫͊̚̕ ̴̧͍̭͇̙̣̘̓̇̎̕͜͝H̵̦͖̻̤̖͖̩̊͆̍̂̆̆̈́́̍̄Ä̶̫̫̞̦͒́̈̐̎̏L̸̬͔̳̩̄̽͑͒Ļ̷̰̮͈̤̭̋̀̀,̷̻͆͛͂͐̈̉͂́͘͝ ̵̡̪͖̳̳̣͊̈̓̇͘͠C̸͇̱̯̍̎̑͆͊́͘͝Ȁ̶̲͖̼͕̬̻̰͛͊̇̂̀̇͘Ĩ̴̢̹̯͔͓͆̎̋̈͂̉͜N̵̛̹͓̪̽́̈́́͘E̴̛̼̩̺͂̾͐̿̔͠.̸̨̬̮̋

[pupkou]

i don’t remember halloweeentown being so creepy??? the makeup is SO good and spooky in a cute and fun way and the costumes are so adorable

[appelsiinilight]

Watched a review of Smile (2022) and was thrown into the most violent rage. The review, 35 minutes in, while playing a cool shot of the monster: "…Believe it or not, this thing is 100% practical!"

From a Polygon interview with the writer and director Parker Finn:

“I grew up on practical effects,” he says. “It’s one of the reasons I wanted to become a filmmaker. I think that when something is practical, it just has more gravity to it. It has real weight and physics, and an actor can actually interact with it on set. It makes a big difference. Of course you can use VFX as a tool to help bring certain things to life, but the practical nature makes it real. And not only while you’re physically doing it in production, but I think for the audience as well. Unless you have a giant Marvel budget, I think people can always sniff out CGI. But hopefully instead, when they get to that moment in Smile, they’ll be asking themselves, What in the hell am I even looking at here? How is this possible?” The physical creature was a 9-foot-tall monstrosity that required a performer inside it and puppeteers to operate the gangly limbs, Finn says.

Now, from an interview by postPerspective with the visual effects studio The-Artery (founder Vico Sharabani and VFX supervisor Yuval Levy), which is not mentioned in the Polygon interview in any way:

"The most difficult part is near the climax, when the monster of Rose’s mom catches on fire. We did shoot a reference of a stunt double doing the same movements, but it required extensive match-moving and difficult simulation to make sure that the monster moved correctly and the flmes felt natural. Not only that, but Parker and I wanted to feel the monster burning so the monster changes throughout the sequence, slowly burning each layer of her skin until the scene ends. In this scene, we also had a smashed lantern on fire. To make this happen, Rose reached for a practical lantern on-set, so we had to recreate Rose’s hand and the lantern (including the cracked glass) and then simulate fire on top of that. This allowed us to have fire naturally reacting with Rose’s hand and with the lantern. Another difficult shot in this scene was the monster face rip, when Rose’s mom’s giant demon rips off her own face to reveal a grotesque, monstrous face underneath. The prosthetics team built an incredible practical. VFX then had to blend the different shots so the actor’s face would perfectly transition to the monster prosthetic. We then recreated the prosthetic in CGI and brought it to life, with skin peeling away and enhancements to the eyes. It was extremely satisfying to see all the parts come together on the big screen."

100% practical creature? Even the fucking lantern wasn't!!!

Here's a breakdown of the "100% practical" VFX on The-Artery's website.

everyone say "sorry VFX artists" aloud right now (or whenever you aren't around other people i guess) or block me ahshsghsbsfv and if your favorite movie is 100% practical, no it isn't, and go look up the credits and write down the name of every VFX artist that helped bring it to life asjdhdghdhhsd

[savage-kult-of-gorthaur]

WHEN COMIC BOOK MOVIES GO DARK IN THE SCI-FI/BODY HORROR VEIN -- IT'S A.I. BUTCHERING HUMANKIND IN 1999.

NOTE: My best friend included this movie in a stack of DVD's he lent me earlier this week, and I thought it was a really brutal/gruesome take on the sci-fi/horror/action movie genre. The fact that it's based on a Dark Horse Comics property only enhances its appeal, personally.

FILM: "Virus" (1999)

DIRECTOR: John Bruno

SCREENPLAY: Dennis Feldman & Chuck Pfarrer (adapted from Pfarrer's Dark Horse comic book limited series)

CINEMATOGRAPHY: David Eggby

PRODUCER: Gale Ann Hurd

DISTRIBUTOR: Universal Pictures

PLOT SYNOPSIS: "A powerful electrical-based life form takes control of a Russian research vessel and kills the crew.

 Finding itself trapped at sea with no escape available for it to spread through worldwide electrical systems. The creature desperately begins seeking escape.

An American tugboat boards the abandoned Russian research vessel hoping to plunder it and make a fortune.

The life form quickly seeks to eliminate the intruders whom it has come to see as a virus and utilise them at the same time to allow it to reach the mainland."

-- BLOOD-SOAKED HORROR REVIEWS (blogspot), c. March 2014

Sources: Mutant Reviewers, IMDb, Moria Reviews, X (formerly known as Twitter), Movies Films, & Flix, Pinterest, http://blood-soaked-horror-reviews.blogspot.com/2014/03/virus-1999.html, various, etc...

[robsheridan]

Electric waves crafted with light for Pearl Jam's “Got to Give” stage visuals on their current Dark Matter world tour. Light refracted off of Mylar sheets onto a projection screen, which we filmed at 1000fps while I crinkled and shook the Mylar in various ways. In ultra slow motion, the resulting textures move in a uniquely alien way, filled with rapidly twitching and shifting details that feel like something between liquid and electricity. By finding a good rhythm of shaking the Mylar with the light hitting at just the right angle, I was able to capture iridescent waves that moved slowly and elegantly while also crackling with small frenetic movements. Those two layers of motion were something I was always looking for in our experiments as I sought to create slow, gradually-evolving long-form visuals that also carried in them a palpable energy to match the intensity of Pearl Jam’s live performance.

The warm glow of the electric waves came from our unique light source: incandescent light bent through the lens of a vintage overhead projector. The projector was a great find by producer Stephanie Sheridan at Tinkertopia here in Tacoma, and we used it for quite a few other visuals in the show, inspired by the Joshua Light Show & other pioneering analog psychedelic visuals of the 1960s/70s.

For the song’s climax, multiple layers of the electric waves overlap, filling the stage’s projection screen with a rainbow of psychedelic light, and lighting director Kille Knobel adds another layer of real refraction patterns using three physical mirror balls that rotate at the base of the screen. The mirror ball light spills out across the entire arena, as if the light has been released from the screen, uniting the band and audience for a celebratory conclusion.

I’ll be back out on the Dark Matter tour in a couple weeks as it continues in the US! Come check it out if you can find tix!

“Got to Give” / Electric Waves: Director: Rob Sheridan Producer: @stephanie_sheridan_ Editor/Post: Rob Sheridan Camera Operator: @donovonmedia Production Assistant: @ilanarahaman Camera: Freefly Ember by @freeflysystems

Filmed at Rob Sheridan Productions, Tacoma, WA.

[djarinsyndulla]

Certain losers are really still lying with their whole chest and trying to convince others The Acolyte looks “cheap and dull” lmfao. Like even in these lq screenshots from the trailer, this show is already the most visually stunning series I’ve seen from SW since The Mandalorian s1

[stevebuscemieyes]

Behind The Sceens Barbarian (2022)

Barbarian, 2022

Dir. Zach Cregger