What kind of movies are in the future?
- Now, as the saying goes, the future has arrived – though filmmaking has a long way to go before it incorporates the mind-bending technology popularised in movies and TV shows such as The Lawnmower Man and Star Trek.
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Nov 30, 2020 · He describes it as a historical project “because I couldn’t predict what would happen, and anything that was current would be out of date by the time the book was in print.” We asked Hilderbrand to make some predictions now about the future of film. Let’s start with filming and scene setting.
May 08, 2019 · Now, as the saying goes, the future has arrived – though filmmaking has a long way to go before it incorporates the mind-bending technology popularised in movies and TV shows such as The ...
Dec 10, 2020 · Studios derive almost half of their revenues from theatrical releases. Although the average number of movie tickets purchased by Americans each year has declined from 4.2 in 2009 to 3.4 in 2019, 3 studio revenues are driven more by box office tickets now than they were 20 years ago. 4 If theaters have a diminished role in the windowing system—the schedule of exclusive exhibition periods ...
Oct 04, 2020 · Future of Movies – In the Era of YouTube, Do Young People Still Care About Movies? I am a young person—college-aged—who still loves watching full-length movies. I even set up a recurring movie night with a friend of mine since the pandemic hit, where we chat and sometimes even watch two full-length movies in one night over Zoom .
Laura Dern introduces the special, walking into the empty David Geffen Theater in order to entice audiences to not only come to
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3 days ago
- Visual Effects Beyond Post-Production
- Performance Capture Bounds Ahead
- Conquering The Uncanny Valley
- The March of VFX Across Screens Large and Small
- How Efficiency Is Now Make-Or-Break
Previously, visual effects were always added post-production, after the action had taken place on set. Over the past decade, the visual effects industry has developed tools now used in other film-making phases - not just post. This was highlighted in the 2009 Oscar-winning visual effects epic, Avatar, where director James Cameron mixed on-set actor performances with computer generated material. So how could this trend develop? If we were to take the advances in previsualization to the next level, we might envision a future in which an entire set is digitally created, with actors dropped into it live without further post-production. Take the ‘tiger in boat’ sequences from 2012’s Life of Pi, for example. Rather than shooting the actor on a boat in a pool, then adding a digital tiger in post production, you could create the scene first and then have the actor perform in the digital set, in real time. Beyond the set and studio, could the rise in popularity of immersive theatre-cinema hy...
The past decade has seen significant advances being made in ‘performance capture’. Like those pioneering pre-visualization techniques, this is an area in which Avatar led the way, and where advances were most recently showcased by the stunning CGI work on 2017 Oscar winner, The Jungle Book. Both films illustrate the ground being made in the performance capture of faces and bodies; that is, using the digitally recorded expressions and three-dimensional movements of actors, to create CGI characters later. The future? The obvious and most immediate scenario is that we manage to create CG characters so realistic we can’t tell which performances are given by a real life human, and which by their digital replica. Beyond this, there lies the intriguing question of whether one day we might be able to forgo human actors all together. Might we create our own believable, fully digital actors? In large part, this will come down to how well we can replicate human emotion: whether emotion can be...
The so-called ‘Uncanny Valley’ - where human replicas which appear almost (but not exactly) like real human beings elicit feelings of eeriness and revulsion - has been a challenge for CGI artists for many years. There have been some notorious examples of studios not getting it quite right - such as the wobbly superimposing of the late Nancy Marchand’s head onto someone else’s body in an episode of The Sopranosfrom 2000. Encouragingly, the past three years have seen huge progress in this field. The reception - particularly by younger viewers - of a digital Peter Cushing’s in Rogue One: A Star Wars Storyindicates visual effects technology has reached a stage where we can create a human likeness to a compelling degree of accuracy. For the future, truly conquering the Uncanny Valley will mean mastering human emotion to the point where we can create fully digital actors, that can give convincing pathos-laden performances, indistinguishable from the real thing. Key to this will be renderi...
The past ten years have seen visual effects become the norm in film. Tellingly, even beyond the visual effects category, almost every film nominated at this year’s Academy Awards was touched by visual effects technology in some way. A case in point is La La Land, the lauded opening five minutes of which were crafted using the careful integration of ‘invisible’ visual effects. The proliferation of VFX doesn’t stop at film, with audiences becoming used to seeing spectacular, cinematic-style visual on the small screen, such as those epic battle scenes from Game of Thrones. So where to next? There is every chance that visual effects will change films beyond anything we recognise today. Imagine a world in which film has evolved way past linear storytelling, confined to the cinema screen, to become a fully immersive - even interactive - experience. The next generation of films may harness the power of VR and AR to become something that plunges viewers into the film, giving them 360-degree...
Financially, visual effects production can be a risky business. This was no better illustrated than in 2013 when the Academy Award for the visual effects category was won by Life of Pi - and at the same time, the main creator of VFX for the movie (Rhythm & Hues Studios) filed for bankruptcy. The VFX industry is globalised, and now an entirely digital process. Dependent on distributed workflows and a highly mobile workforce, it’s also subject to the ebb and flow of government initiatives, from which it alternately suffers and benefits. Because of these pressures, there’s an increasing need for technology that helps drive efficiency - through the increased use of analytics, through improved workflows and through the dynamic use of cloud computing. In the future, in order for visual effects to continue transforming our experience of film, visual effects companies will have to find new ways of streamlining the complex VFX process. Those that do stand the best chance of thrilling us with...