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The Digital Eye: A New Year for VFX

In this months Digital Eye column, Scott E. Anderson looks at the current state of VFX, as it becomes more and more a part of the mainstream.

Image courtesy of Deron Yamada. © 2004 DYA367.

Image courtesy of Deron Yamada. © 2004 DYA367.

Practitioners in the visual effects field are commonly asked questions like:What is it like to work in Hollywood? And then, inevitably, a variation on the theme: Are visual effects taking over/destroying the industry/world?

As the hope remains that the art of filmmaking is the reason we got into the business, I prefer to think of the question not as an indictment of what we do, but one indicative of the familiarity the public now has with what we do.

Visual effects artists now work worldwide, for a variety of companies, on projects large and small, and the work we do is covered in the mainstream and entertainment press. With such a focus on our industry, it appears time for a quick reflection on our state for the New Year.

A Look Back on 05

In short, 2005 is unlikely to go down as the year of invisible effects. A quick look at this years Academy short list of King Kong, Batman Begins, War of the Worlds, Harry Potter and the Goblet of Fire, Star Wars: Episode III Revenge of the Sith, The Chronicles of Narnia: The Lion, the Witch and the Wardrobe and Charlie and the Chocolate Factory outlines one dominated by big shows with lots of shots and big effects. At the same time, more films than ever do have invisible effects at the core of their productions.

2005 was the year of big films and big effects as seen in Star Wars: Episode III and Charlie and the Chocolate Factory.  & © 2005 Lucasfilm Ltd. All rights reserved. Digital work by ILM (left) and courtesy of Warner Bros. Pic

2005 was the year of big films and big effects as seen in Star Wars: Episode III and Charlie and the Chocolate Factory. & © 2005 Lucasfilm Ltd. All rights reserved. Digital work by ILM (left) and courtesy of Warner Bros. Pic

While big films have often been described as popcorn fare, audiences and the filmmaking industry persist in embracing these effects laden films. Critical praise for films such as Spider-Man 2 and The Lord of the Rings seems to be continuing with this years Batman Begins, War of the Worlds, Harry Potter, Narnia and King Kong. That such films actually received positive critical notice is a huge achievement for the industry as a whole, and one that vfx artists should take note of.

Overall, it added up to one great year for story and visual effects. Such praise for both the work and the story is what most artists aspire to. This has, however, made it a tough year for recognition if your film is in contention for an award, or if you worked on a film that was high quality but lacking the impact of an overwhelming number of shots.

Films that, in past years, would have been recognized in the awards race have been buried in the avalanche of work out there this past year. Big films containing both a story and effects have dominated the award slots, leaving little room to acknowledge work done on films with critically acclaimed story and some hidden effects.

Vfx that forwarded innovative storytelling also flourished in 2005 with Sin City, which redefined the stories that can be told. Property of Dimension Films. Courtesy of Hybride.

Vfx that forwarded innovative storytelling also flourished in 2005 with Sin City, which redefined the stories that can be told. Property of Dimension Films. Courtesy of Hybride.

The nascent but exciting trend of stories told in a synthetic universe also carries on. Sin City, the second prominent film (after Sky Captain and the World of Tomorrow) set in both a thematic and visually alternate universe, additionally received broad notice. While not necessarily graced with awards by the visual effects community, these films have, as a writer friend once said, Redefined the stories that can be told. In achieving that, they may have the longest impact on the industry.

The apparent audience (and studio) acceptance of both the look and the risky material presented in these synthetic worlds opens up opportunities centered on the creative aspects of visual effects and the supporting technology. Edgier stories have been allowed, or told in a world that is not quite real, freeing the storyteller to push the envelope. Costs have been significant, but lower than those that a photoreal approach would have.

What we do and how the industry builds on these successes is for us all to define.

A Look Forward to 06

This year brings a new flood of effects intensive films this much we know. What remain up for grabs are the questions of quality and story. As any effects artist knows, the better the story, the better the effects look!

So what does 2006 look like feature wise? We have a slew of high profile sequels represented by Pirates of the Caribbean: Dead Mans Chest, X-Men 3 and Mission: Impossible III. Also highly anticipated are a couple of high-flying remakes. After many years of stops and starts, Superman Returns looms large on the summer radar. Its joined by Poseidon on the remake roll. Finally, there are a number of adaptations being followed in the community for its own reasons: Eragon, Charlottes Web and 300.

At first glance, the above list of films might not seem to have the same story potential as the ones raved about this year. Were also missing an early contender based on an original story.

However, how many would have predicted such high hopes for last summers stories? We should also recall that the first Pirates was, indeed, the great critical surprise of 2003. As to where next years surprise comes is hopefully just that a good surprise from a filmmaker with a vision.

After many years of stops and starts, Superman Returns looms large on the summer radar for 2006. Bryan Singer (left) directs Brandon Routh as Superman. Courtesy of Warner Bros. Photo credit: David James.

After many years of stops and starts, Superman Returns looms large on the summer radar for 2006. Bryan Singer (left) directs Brandon Routh as Superman. Courtesy of Warner Bros. Photo credit: David James.

While not a 2006 film entry, no mention of next year would be complete without mentioning the intended return of Jim Cameron. Seen by many as having had a significant influence on the current state of visual effects, his re-entry into that world is likely to have a noticeable impact.

Are There Any Industry Trends?

As visual effects have grown and matured as an industry, studios have gained more comfort with the work on two major fronts: The amount of work has increased, and the kinds of directors allowed to helm visual effects films has broadened. We are now an industry that supports both the highly experienced filmmaker and the first time director.

The kinds of films involving visual effects have evolved as well. Today it seems as if every film has some form of vfx in it. And, as vfx crosses paths with the upcoming trends in digital intermediates and digital cinematography, we should be prepared for even more diversity in our work, our approaches and the aesthetics we encounter in filmmaking.

Alternative realities and non-photoreal universes continue to open up the stories that can be told. Visual effects have begun defining new universes that are creatively challenging and visually liberating. Artists who trained in the art of constructing extensions to the real world now have more freedom and responsibility to create. This is a familiar but slightly different position for many, one that brings visual effects artists firmly into the world of production design, set design, props, cinematography and performance. In short true members of the filmmaking family.

Another trend pertains to the practice of visual effects. As the tools of the trade have reached a critical price point and become more accessible, a number of teams are looking at new ways of doing business. Rob Legato and Ron Ames have teamed up as The Basement. We at Digital Sandbox are applying the concepts of design and project management to create what we define as an architecture firm for visual effects. Both are companies and concepts aimed at providing the highest standards of work to projects that interest the principals creatively as filmmakers regardless of the scope of the film or project.

Whats most interesting to us at Digital Sandbox is that todays technology price points allow for a great flexibility in project choices. We are working on a combination of high-end, big budget projects and smaller independent and art projects. Such flexibility is solidifying the role of digital and visual effects as a tool as familiar to our clients as non-linear editors or cameras. Clients may not be experts at using it, but are learning its virtues and want to include it as part of the family.

As an industry, we must hope that filmmakers also recognize the people creatively controlling the tool. Like cameras or editing systems, you can indeed run out and buy many visual effects tools off the shelf. Like cameras or editing systems, however, having the tool does not make one a cinematographer or editor. Visual effects, like those arts, may require a technical knowledge of the tools, but in the end it is the artistic application of that knowledge that defines us.

So Where Do We Stand?

Has visual effects actually gone mainstream? Yes and no. Yes, it is more open as a field and tool, now available to all on some level. It is unquestionably a part of the mainstream when it comes to awareness in the field and in the press.

Scott E. Anderson.

Scott E. Anderson.

And, no, VFX is still a specialized discipline in the very specialized field of filmmaking. You can indeed run down to the do-it-yourself store and purchase everything you need to make your own film. Its the Home Depot equivalent of cinema but the neighbor down the street with the great power tool is just as likely to cut off his finger as build your new house.

On the professional end, it remains a specialized discipline deserving of respect. You might commission an artist for a painting in the house because you love the work, you might even commission that artist for a fresco in your new office building but its highly unlikely youd hire that artist to design and build the office building without a healthy degree of caution.

This is not to say that we should not all take chances on talent, because new talent leads us to new places. The breadth and depth of effects talent and technology out there should provide fertile ground for the New Year and beyond.

Scott E. Anderson is a filmmaker and an Academy Award-winning visual effects supervisor. He recently founded Digital Sandbox, a company dedicated to film production, visual effects and digital cinema technology. Digital Sandbox is currently working on Superman Returns, shepherding digital imaging and Panavisions new Genesis camera technology. As an effects supervisor, he recently completed work on King Kong for Peter Jackson and Weta Digital.