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The future of VFX
Visual effects refers to the use of computer generated images in film and tv. Nearly every film that comes out in the cinema today incorporates some kind of visual effects. Whether it be to make a sky brighter, change an actor cosmetically or create an entire environment, the realism of these effects depends on the work of VFX artists done in post production, but also on huge teams that have to work collaboratively to create a certain effect.
Christopher Nolan has famously rejected using VFX in favour of practical effects, Nolan uses these in place of what would traditionally be visual effects, in famous scenes such as when a truck flips over in the middle of the city, in The Dark Knight. Nolan has even boasted in an interview that his newest film Tenet, has under 300 visual effects shots and their “VFX shot count is probably lower than most romantic comedies”. Nolan is fortunate to have large budgets to support his preferences, and carry out huge practical effects.
Youtube has behind the scenes footage of big budget films that heavily incorporate VFX. Some of these videos are almost surreal, with actors dressed in extravagant costumes and posing theatrically in front of a large green (or sometimes blue) screen. The Hobbit, Avengers: Endgame, and Gravity are films that are entirely reliant on VFX to tell the story of their film. Without the use of computer generated imagery, The Hobbit would not have fearsome creatures, Avengers: Endgame would not have its large purple antagonist and Gravity couldn't be set in space. Increasingly, blockbusters are becoming dependent on post-production to create effects that are necessary for storytelling of the film.
While the use of green screens allows for directors and writers to show stories and create worlds that have never been seen before, there are actors who struggle with them. Famously, Sir Ian McKellen told Time Out how he was “miserable” working on set for The Hobbit, as he much preferred the on location shooting that was used in The Lord of the Rings. In fact, McKellen even said he felt driven to quit acting, as he resented the isolation of standing on a greenscreen alone, as other actors were added in post so as to exemplify the height difference between Gandalf and the dwarves. McKellen is somewhat unique in his position as an actor, that he recalls filming The Lord of the Rings back in 2000, and relying on the striking New Zealand landscape, and then having to film The Hobbit 11 years later on green screens.
Green Screen studio set ups like the above could become a thing of the past as VFX breakthroughs change the way films and television are made
However, technology is changing and the days of actors performing in front of green screens could be a thing of the past. New virtual production has been pioneered by ILM who named the process StageCraft, and it is making groundbreaking changes in the film and tv industry.
Rather than depending entirely on the work of post-production to create a scene, it incorporates pre-production to create virtual scenes.
Instead of a green screen, actors stand surrounded by a huge LED screen that goes from floor to ceiling- which is also made up of LED panels. Images are then cast onto these screens and actors will carry out scenes in front of the screen. Real-time rendering combined with camera tracking is used in the creation of the scenes on the LED screens, this is so that the environment being shown moves dynamically with the perspective of the camera and the actor moving within it.
Sue Lyster is the Executive in Charge at Industrial Light & Magic (ILM) , and explains as part of her role she is “operationally responsible for the day to day running of ILM’s London studio”. ILM is a special effects firm founded by George Lucas. Elaborating further on the VFX industry, Lyster says “we’re a creative business so I partner with our creative director Ben Morris, he’s day-to-day responsible for all the creative, and I do the business side.” Currently, ILM is immensely busy with work, “we have at the moment about 13 film and television projects working their way through the company in London alone ”.
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As part of her role , Lyster has also been ensuring the smooth integration of StageCraft technology into production, Lyster explains that “StageCraft was used extensively in both seasons of The Mandalorian” From the success of this, ILM has been “rapidly growing our stagecraft business, we’ve built a big LED volume out in Pinewood, which will be having its first outing in February on an upcoming feature”.
Technology's rapid expansion affects VFX and Lyster doesn't shy away from the challenges her role has as a result, “the problem with visual effects is it is constantly changing and we are buffeted by the actions of our clients, they may not turn over work to us on time. They may want us to deliver at a different time”. In addition to coordinating work being done, Lyster also must think about “trying to produce a project with a certain amount of resources”. In particular, the groundbreaking resource of the new LED screen at Pinewood studios will bring forth “a whole new virtual production, which is going to become a huge aspect of our world”, Lyster enthuses. In addition to this, Lyster says “StageCraft is a gamechanger.”
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Undoubtedly, StageCraft could have revolutionary effects on the film and tv industry. Although Lyster explains, “it’s still early and in a very exciting time, people are still finding out what they can do, every project we do pushes its limits further and further” In addition to this, the use of Stagecraft affects the order of production, as processes that were formerly done in post production are now going to become a part of pre-production. Lyster has to ensure that “we’re having to adapt to that, our artists are having to adapt to that”. However, Lyster believes that “it won't necessarily change stories, because we’ve always been able to support stories through post production.”
A StageCraft Set up for The Mandalorian. What appears to be a vast mountain range is actually the giant LED panels.
By using real props (the wooden pier) production is able to seamlessly integrate objects as the sky made of LED lights reflects off of them and the actor creating total realism.
However, there are additional positives to the use of StageCraft, especially for actors like McKlennen who felt detached from the filmmaking process. “Visual effects has always been last in production.” Whereas StageCraft will “make it much more part of the filmmaking process, which I think for a lot of filmmakers is very exciting because it’s something they tangibly feel during the process, sometimes Visual effects can feel like a dark art to envisage in the filming process”, says Lyster . Behind the scenes photos and footage of The Mandalorian, is surreal to watch. It’s almost impossible to distinguish where the set ends and the screen begins. The LED also means that lighting bounces off the actors armour, and reflections are added as part of the filming in a natural way that adds realism to each scene.. In addition to this, Pedro Pascal who plays The Mandalorian is able to see the extra-terrestrial terrains that his character would be traversing, making his acting experience much more visceral .
StageCraft has even more potential in the future as it can be used within covid regulations, making it sustainable for the future, Lyster explained that “I think that in a covid world, it’s sort of come at the right time, because previously where you would need to shoot on location, you don’t have to, which is really helpful, as you can have fewer people in the filmmaking process and on set”. Stagecraft has offered numerous advantages to filming, including being covid safe, although that wasn't something that could have been planned for. Covid has also affected the closure of cinemas, and Lyster reflects that “I hope there will always be cinemas but a lot of content is for streamers, there’s so many channels crying out for the work we do, and it won’t all be destined for cinemas”.
Lyster confirms that she thinks StageCraft is “a really exciting tool, and it’s not going to be put back in its box”. With The Mandalorian having received an Emmy for Visual Effects, and the news that The Batman filming will be using ILM and StageCraft, it's likely the boundaries between what we think is real, and what isn't will become increasingly blurred. Not only will actors be optimistic for this future that allows them to see their surroundings, viewers can look forward to being even more immersed into films.
By Bethan Adams
06/02/2021