#will be the VFX of the film

[humanoidhistory]

Behind the scenes of Alien.

[fleshadept]

HOT LABOR SUMMER

[shesnake]

Spider-Verse Artists Say Working on the Sequel Was ‘Death by a Thousand Paper Cuts’

Why don’t more animated movies look this good? According to people who worked on the sequel, Across the Spider-Verse, it’s because the working conditions required to produce such artistry are not sustainable.

Multiple Across the Spider-Verse crew members — ranging from artists to production executives who have worked anywhere from five to a dozen years in the animation business — describe the process of making the the $150 million Sony project as uniquely arduous, involving a relentless kind of revisionism that compelled approximately 100 artists to flee the movie before its completion.

While frequent major overhauls are standard operating procedure in animation (Pixar films can take between four and seven years to plot, animate, and render), those changes typically occur early on during development and storyboarding stages. But these Spider-Verse 2 crew members say they were asked to make alterations to already-approved animated sequences that created a backlog of work across multiple late-stage departments. Across the Spider-Verse was meant to debut in theaters in April of 2022, before it was postponed to October of that year and then June 2023 owing to what Entertainment Weekly reported as “pandemic-related delays.” However, the four crew members say animators who were hired in the spring of 2021 sat idle for anywhere from three to six months that year while Phil Lord tinkered with the movie in the layout stage, when the first 3-D representation of storyboards are created.

As a result, these individuals say, they were pushed to work more than 11 hours a day, seven days a week, for more than a year to make up for time lost and were forced back to the drawing board as many as five times to revise work during the final rendering stage.

"For animated movies, the majority of the trial-and-error process happens during writing and storyboarding. Not with fully completed animation. Phil’s mentality was, This change makes for a better movie, so why aren’t we doing it? It’s obviously been very expensive having to redo the same shot several times over and have every department touch it so many times. The changes in the writing would go through storyboarding. Then it gets to layout, then animation, then final layout, which is adjusting cameras and placements of things in the environment. Then there’s cloth and hair effects, which have to repeatedly be redone anytime there’s an animation change. The effects department also passes over the characters with ink lines and does all the crazy stuff like explosions, smoke, and water. And they work closely with lighting and compositing on all the color and visual treatments in this movie. Every pass is plugged into editing. Smaller changes tend to start with animation, and big story changes can involve more departments like visual development, modeling, rigging, and texture painting. These are a lot of artists affected by one change. Imagine an endless stream of them."

"Over 100 people left the project because they couldn’t take it anymore. But a lot stayed on just so they could make sure their work survived until the end — because if it gets changed, it’s no longer yours. I know people who were on the project for over a year who left, and now they have little to show for it because everything was changed. They went through the hell of the production and then got none of their work coming out the other side."

[cf-12]

location.scouting()

[theabstruseone]

Hey, who wants to see the start of a massive shitstorm?

Considering it seems the AMPTP plan was to use algorithmic generation ("AI") to make scripts that they'd then exploit non-union VFX crews to animate 3D body scans of actors and generative algorithms to voice based on scammy contracts for likeness rights...this kind of fucks that whole plan.

[silkjade]

they don’t do fantasy cinematography like they used to, because i rewatched 'the lion, the witch, and the wardrobe' last night and it felt so beautiful and nostalgic ♡

[artstationable]

Joshua Gouw

Character Artist @Prime1Studio - jooo_gouw@yahoo.com

artstation linkedin facebook instagram

More from «Artstation» here

[jazy3]

New BTS! Looks like the VFX Department is hard at work! I’m hoping they do a BTS video for the visual effects this season! I’m guessing the bath stuff and Chardonnay are Karen’s. They appear to be filming a lot at the Wheeler House this season. The props team is killing it as usual!

[joey-juice]

who up swaggin they on

do tags work on tumblr? follow me on that one horrible website if u want

[leematsuoka-art]

✨ WIP ✨

I've made many changes to his proportions since my last post, but I think I finally reached a balance between a more real version of Solas, and keeping his original features.

Next are brows and eyelashes 🤞

[humanoidhistory]

David Cronenberg and James Woods on the set of Videodrome, 1983.

[acatwithstockings]

My collection of Crowley's sunglasses so far

GO 3D BUST PROJECT

[pocketgalaxies]

"how does it work?"

"well, simply you lay in the tub, and we fill it up with water, and...well, this is where things get a little difficult, but...we fill the tub, and... *pushes the lever*"

"oh it KILLS you."

[savage-kult-of-gorthaur]

"SHEILA, OPEN."

PIC INFO: Spotlight on the absolute state of visual FX in 2001 -- Canadian actress Sabrina Grdevich as Sheila the mecha secretary, from the American science fiction film "A.I.: Artificial Intelligence" (2001), written & directed by Steven Spielberg.

Source: www.inverse.com/article/9529-spielberg-s-a-i-artificial-intelligence-feels-right-despite-bad-science.

[cf-12]

_power.day/ I — II — III

[contac]