Digital Visual Effects Research Articles

Embodied performance with digital visual effects technology: Empirical results of a digital acting programme

Embodied performance with digital visual effects technology: Empirical results of a digital acting programme

Atelier, czyli tam i z powrotem. Ewolucja filmu studyjnego od czasów kina niemego do ery cyfrowej

The article explores the concept of studio filmmaking in the context of early Hollywood and a new incarnation of studio filmmaking in the age of digital visual effects. The author analyses the old studio era in terms of shaping the cinematic image (primarily compositing) and the meaning of the studio, understood as an atelier. Kalbarczyk argues that originally the final look of the film used to be achieved by blending all the shot elements in the physical space of the studio, while nowadays the final form is most often created in a virtual space, deepening the decentralization of the filmmaking process. The author argues that more than the atelier space, the new studio filmmaking concept would refer to the holistic way of thinking about cinema as a heterogeneous structure, not so much attained integrally through filming, but carefully constructed. Various dimensions of studio filmmaking are discussed using the following films: Sunrise: A Song of Two Humans (1927), Citizen Kane (1941), Everest (2015) and Avengers: Endgame (2019).

The Use of Digital Effects on Storytelling in Turkish Cinema

Digitalization and the use of digital effects have an important place in the world and also in our country in many different disciplines. The transition from analog system to digital has affected all mass media. The use of digital technology in cinema also occupies an important place. American cinema was a pioneer when many movies switched from analogue to digital and started to use digital visual effects. The use of visual effects in Turkish Cinema, especially in action and drama genres, is remarkable. Although the words special effects, visual effects and CGI are used interchangeably, they have different characteristics. In these study, whether the use of digital visual effects supports storytelling or not was investigated by discourse analysis method. The most watched movies in Turkish Cinema between 2004-2017 were analyzed. With this method, it was also tried to determine how often popular movies use effects and which types of effects they use more. While effects supported the story in some movies, they caused negative impact on others. One of the important reasons for this reaction is that the effect is not included in the movie in a natural way. Possible economic difficulties in accessing technology can also lead to falling behind.

“I Don’t Need Your Help! I’m a Scientist!” Biotechnology, Digital Visual Effects, and (the Lack of) Human Control of Life in Zoo

This article explores the American television series Zoo (CBS, 2015–2017). The show’s convoluted narrative revolves around mutations that are put into motion by genetic engineering. These mutations first affect animals and later humans The article argues that the biotechnological control of life, which takes center stage narratively, is mirrored in the television show’s use of digital visual effects to create animals. More importantly, Zoo suggests that this control of life is nothing but an illusion, as the mutation quickly gets out of hand and leads to unexpected consequences. Thus, the television series reflects the Anthropocene condition, which is characterized by the emergence of humankind as a planetary force; however, the planetary effects of anthropogenic activities have been largely unwanted. While Zoo seems to expose these processes of our age, the article also stresses that as a television show, Zoo must reach a broad audience. Thus, the critique of human fantasies of planetary control are, somewhat paradoxically, accompanied by an anthropocentrism which arguably undermines the show’s ecological subtexts.

Archiving visual effects: Filling a digital void in the documented memory of film and television

Digital visual effects emerged onto cinema screens during the mid-20th century and have now become an essential feature of contemporary film and television production. Notwithstanding the rise and prominence of visual effects in the telecinematic discourse as a key visual storytelling tool, there is currently a visual effects gap in audiovisual archival collections, and a digital void in the documented memory of film and television. Why are there no visual effects records in our moving image archives?
 This reflection will explore the above question by sharing some findings from my doctoral research about records and archiving in the global film and television visual effects industry.

Futureproofing Visual Effects

Digital visual effects (VFX), including computer animation, have become a commonplace feature of contemporary episodic and film production projects. Using various commercial applications and bespoke tools, VFX artists craft digital objects (known as “assets”) to create visual elements such as characters and environments, which are composited together and output as shots.
 While the shots that make up the finished film or television (TV) episode are maintained and preserved within purpose-built digital asset management systems and repositories by the studios commissioning the projects; the wider VFX network currently has no consistent guidelines nor requirements around the digital curation of VFX digital assets and records. This includes a lack of guidance about how to effectively futureproof digital VFX and preserve it for the long-term.
 In this paper I provide a case study – a single shot from a 3D animation short film – to illustrate the complexities of digital VFX assets and records and the pipeline environments whence they are generated. I also draw from data collected from interviews with over 20 professional VFX practitioners from award-winning VFX companies, and I undertake socio-technical analysis of VFX using actor-network theory. I explain how high data volumes of digital information, rapid technology progression and dependencies on software pose significant preservation challenges.
 In addition, I outline that by conducting holistic appraisal, selection and disposal activities across their entire digital collections, and by continuing to develop and adopt open formats; the VFX industry has improved capability to preserve first-hand evidence of their work in years to come.

Race and the digital face: Facial (mis)recognition inGemini Man

Ang Lee’s 2019 film Gemini Man features the most realistic digital human to grace the cinematic screen, specifically a computer-generated version of young Will Smith who battles his more aged self throughout the film. And for the first time in film history, this photorealistic digital human is Black. This essay explores why this groundbreaking achievement has not been acknowledged or celebrated by the film's production or publicity teams. I argue that Will Smith’s particular “post-racial” identity mediates contemporary concerns related to the racialized implications of facial recognition and other digital imaging technologies, as well as to the future of the film industry in the digital age. In the second half of the essay, I examine how the appearance of Will Smith in deepfake parody videos illustrates how race circulates on screens of various media formats. I conclude with a call to use digital visual effects, deepfake tools, and other advanced technologies to further racial justice instead of repeating the problematic usage of the past.

Techno-Creativity: The Implementation of DVFx as Creative Support Tools Among Filmmakers in Malaysia, India & Australia

Previously, the use of digital visual effects (DVFx) only serves merely to fix or modify the damage or harmful elements in the post-production. Still, there are differences between improving the work and the creative effects in work. Subtracting part of the image can often be seen as a form of creativity in generating new image elements. DVFx is also seen as a form of creative effects. It is a fascinating field of study on 'adverse impact' or 'creative impact' in film production. Creative impact in the production process of film is likely to lead to a new assessment on the aspects of 'creativity.' The occurrence of technological changes that involve creative work will undoubtedly lead to a shift in creativity. Technology and creativity or techno-creativity are likely to represent a new creative possibility and measurement in film production using creative software as a support tool. This paper discusses the findings derived from in-depth interviews conducted with filmmakers, visual effects artists and supervisors from Malaysia, India, and Australia on implementing DVFx as creative support tools. The finding shows that DVFx functions as a techno-creative device in two main areas: ideation and implementation. These two aspects involve using DVFx as a tool for transforming the ideas and the imagination of a filmmaker into a reality on the screen. In other words, DVFx has acted as creative support tools (CST) to increase techno-creativity, especially in the area of visual presentation. Keywords: Creativity, digital visual effects, creative support tools, media technology, globalization.

The importance of visual effects in fights in tv and film

This project is a research into the importance of Visual Effects, especially Digital Visual Effects in Fights in Film and TV shows. It will discuss the role of these effects in enhancing fighting sequences to make them look more amazing than they would normally look because audiences expect more out of them nowadays that they are exposed to incredible fighting sequences in films and TV shows. It will also discuss how these effects make weaker-looking characters look stronger and more powerful by giving extraordinary abilities to the characters. A media work created to show this importance will be discussed too. The media work is a fight between two actors with no experience in any kind of fighting enhanced by digital visual effects. The project’s main aim is to motivate researchers of the area to write a book or academic text devoted exclusively to the importance of VFX in Film and TV shows. The effectiveness of the final piece was evaluated through online screenings, a multiple-choice questionnaire and self-critique.

Malaysian Film and Visual Effects Industry: Challenges and Future

The improvement of digital visual effects technology in films has vastly opened up the creativity options for the production of a film. The term visual effects can be widely applied to almost every...

Digital Visual Effects (DVFx): Comparative Iconography Analysis in Malaysian, Indian and Australian Award-Winning Movies

This aim of this article is to investigate the usage trends of DVFx technology in Malaysia, India and Australia’s film industries. DVFx is also called creative support tools or CST. The variety of CST forms used in the production of most films has changed the landscape of production and post-production in Malaysia, India and Australia. Eleven films from those countries that have been awarded the best visual effects in local film festivals were selected as a sample to compare the trends in DVFx usage in those countries. Images and digitally generated scenes were analysed and have revealed a new level of digital creativity in the film industry. The iconographic analysis is divided into three categories based on the function of DVFx usage. These functions comprise the construction of ‘fantasy’, creative simulation and storytelling support, and visual enhancement and corrections. This study also found that the design structure is the most crucial element in a film. DVFx is used in the creation of fantasy elements through the creation of characters, settings and props. DVFx has also been used to reinforce the storyline by stimulating creativity through the creation of spectacular action scenes. DVFx have also acted as a visual enhancement tool through the animated design of the opening titles and transition scenes. Keywords: Digital visual effects, filmmakers, film technology, creativity, production .

ЦИФРОВІ ТЕХНОЛОГІЇ ЯК ЗАСІБ ТВОРЕННЯ НОВОЇ ЕКРАННОЇ РЕАЛЬНОСТІ

The article devoted to analyzing cinematic entertainment and connections between traditional techniques and computer graphics technologies. Have been analyzed the historical development and the popularity of computer graphics and digital effects. Have been identified difference between special and visuals effects, revealed the most popular techniques at the filmmaking, such as scale modelling, animatronics, stop-motion, slow-motion, time lapse, and the main of tracking methods − motion capture, match-moving, deepfake, also chroma- and lumakey. Have been revealed of their essence. All methods and techniques are compared by the number of highly qualified specialists involved, the budget spent, the time of creation and the audience's attention. Determined the most popular and effective visual method for viewers. Have been identified the perspectives of computer graphics and digital visual effects. Identified the relevance of combining computer graphics with footage.

DVFx, and Modernization of Technology: Audience’s Changing Taste in the 21st Century

The changes from analogue to digital in the film industry occurred rapidly and triggered a change in the landscape, especially in the usage of digital visual effects (DVFx). Thus, films that use the digital visual effects have developed a demand for technology exploitation among audiences. The most powerful effect afforded by digitization is the changes in the relationship between film and audience, especially in the aspect of cinema spectacle. Previously, the use of digital visual effects served merely to fix or modify damaged or negative elements in the post-production process, but it also has contributed to transformation of the tastes of audiences in 21st century cinemas. Tastes and aesthetic judgments are manifestations of aspects of class inequality and social, cultural and reproduction ideology. To evaluate tastes especially within different systems of society is not a simple matter as there has been a change in various aspects of society due to technological advances. This judgment involves complex processes and variables. This paper explored how globalization impacts audiences’ changing tastes with the juxtaposition of the digital visual effects revolution. The research used qualitative research methods, which is focus group discussions involving three groups of moviegoers from Malaysia, India and Australia. The analysis of the findings is divided into two main themes: modernization and technology. In general, the findings show that taste among movie audiences is a typical representation of the middle class society. Keywords: Audience, digital visual effects, film studies, genres, technology.

Narrative Techno-enhancement: The Impact of The Digital Visual Effects (DVFx) in Creative Narrative Performance

Globalization of technology primarily in the field of film, media and communication studies has also impacted the creativity in visual presentation and storytelling. The occurrence of technological changes that involve creative work will undoubtedly lead to a new assessment of creativity. Hence, technology and creativity are likely to represent a new creative possibility and measurement in the field of film production. Digital Visual Effects (DVFx) provides new kind of creativity based on technology to the creative visual presentation and creative narrative enhancement. We have learned that story and narratives are the priorities that need to be secure in a movie; however, the spectacular element produced by using DVFx show the progress and development of technology used in the film production process, especially to the creative narrative. Hence the question that needs to address is; how these elements of technology integrated with the story and narrative filmmaking? Generally, this article will focus on the role and impact of DVFx as narrative techno-enhancement in the storytelling, and narrative presentation compared the technical visual presentation aspect. Precisely, this article analyses the impact on DVFx among professionals in Malaysia, India, and Australia’s film industries to enhance creative narrative performance. Narrative interstate relies on our understanding of the use of technology to create and convey stories. Presentation of stories also means communicating and transferring the meaning to the audiences. In addition to functioning as narrative techno-enhancement, DVFx opens the exploration of value in creative storytelling such as digital narrative and digital interactive storytelling for the audience in the 21st century. Keywords: Digital Visual Effects, Narrative, Digital Storytelling, Interactive, movies.

Nostalgia Films in the Post-Cinema Age -Digital Visual Effects and the Nostalgia for the Celluloid Cinema-

Nostalgia Films in the Post-Cinema Age -Digital Visual Effects and the Nostalgia for the Celluloid Cinema-

Layered Encounters: Mainstream Cinema and the Disaggregate Digital Composite

The digital surface in cinema has, throughout its relatively brief history, been subject to a familiar “iconophobic” tendency, documented by Rosalind Galt (2011) , to denigrate surface decoration as “empty spectacle” (p. 2). In early scholarship on computer generated (CG) images in cinema, the digital surface's alleged seamlessness and “new depthlessness” frequently became an overdetermined nexus of loss: of material presence, of an indexical relation to the world and lived experience, and of the continuation of older traditions of narrative cinema. Today, digital visual effects sequences in mainstream cinema continue to be framed by film reviewers in negative terms: as variously lacking imagination, realism, narrative depth, and affective power. Digital visual effects and digital media scholarship have done much to reclaim the cultural significance of mainstream digital visual effects sequences and their capacity to speak to a rapidly evolving and increasingly encompassing digital media ecology. Yet the formal heterogeneity of this evolving period of mainstream aesthetic consolidation and experimentation with digital images, surfaces and spaces has yet to be fully acknowledged. This article seeks to contribute to this broader task by focussing on the mainstream cinematic history of the digital composite, and specifically those moments where it displays a particularly self-reflexive character. If the digital composite has traditionally been characterised by its attempt to totally erase signs of its composite nature, across the period of CG images' proliferation in cinema an occasional figure emerges that seeks to do the opposite: a digital composite that formally fragments, foregrounds, and scrutinises the digital surfaces that constitute it. Drawing on scholarship on the computer image, digital media and the post-cinematic, this article will argue that these returns of the self-conscious digital composite speak meaningfully to their historical context.

Fleeting Film: Using Story to Seek Archival Permanence in the Transitory and Globalized Digital Visual Effects Industry

AbstractArchiving is a long-standing vocation, founded on principles such as provenance, original order, truth, evidence, preservation and permanence. A far cry from the visual spectacle and movable feast of film visual effects (VFX)—a transitory and globalized industry of disposable firms, ever-advancing technologies and a roving workforce which craft digital animations and seamless effects for the big screen. In this paper we utilize the concept of “story” as a premise to bring together the seemingly different vocations of archival science and film VFX. Through an exploration of digital film production and archival practice under the context of storytelling, we aim to highlight the need for archivists to work with the VFX industry to ensure evidence of this culturally significant aspect of filmmaking and cinema discourse is preserved into the future. As well present the argument that archives are more than collections of historical evidence. Archives are story—and archivists are storytellers.

Review Essay—Digital Visual Effects in Cinema: The Seduction of Reality

Review Essay—Digital Visual Effects in Cinema: The Seduction of Reality

Representation of Morphing Manifested in Digital Art

This paper analyzes works of fine art, films, and music videos that adopt morphing techniques to create digital visual effects, and it derives visual features of morphing, as well as relevant visible image transformation. It also delves into the techniques and meanings of representation in digital art to discuss the potentiality of new digital artwork. Taken together, the present analytical findings substantiate the potentiality of morphing as a conception conducive to creating digital art.

The importance of a green screen acting course within the South African film acting curriculum

South Africa’s film and television industry is an important economic institution and it is crucial to invest in the skill development of the individuals involved in the industry. This investment includes the skills of the South African film actor who, due to the advent of digital visual effects, has to deal with a green screen environment in order to successfully portray a character in the diegetic reality of a film. The green screen limits the actor’s stimuli, impedes his belief in the diegetic circumstances, and requires the actor to imagine and be congruent to elements not present while filming. This article offers possible approaches to a green screen acting strategy which should be incorporated in existing film acting courses. Based on existing acting strategies and cognitive neuroscience principles, we hypothesize that acting explorations can be developed into a green screen acting method. This will assist the South African actor in successfully traversing the green screen environment, and lead to an integrated cinematic experience.