WEBVTT 00:08.510 --> 00:09.230 Well, it's 00:09.390 --> 00:12.030 been a while. It's good to be back. And 00:12.030 --> 00:14.070 today we're going to be looking at what 00:14.070 --> 00:16.990 I've titled Hidden Effects, Unmasking 00:17.470 --> 00:19.150 the Invisible Effects of Film. 00:20.670 --> 00:22.630 Film is full of invisible effects, and 00:22.630 --> 00:24.030 today we're going to be looking at them. 00:26.030 --> 00:28.150 Just because you can't see a particular 00:28.150 --> 00:30.270 effect doesn't mean that it's not 00:30.270 --> 00:32.350 helpful, doesn't mean it doesn't serve a 00:32.350 --> 00:34.910 purpose. It just means that it 00:34.910 --> 00:37.630 is a masterful piece of work that is 00:37.630 --> 00:39.870 essentially so good that you can't see 00:39.870 --> 00:42.830 it. So we've broken this 00:42.910 --> 00:45.190 up into three different categories with 00:45.190 --> 00:47.510 three different types of invisible 00:47.510 --> 00:50.430 effects. First one is 00:50.670 --> 00:52.990 addition, effects of addition. 00:53.710 --> 00:55.950 Includes matte painting. 00:56.590 --> 00:58.510 Secondly, we're going to look at effects 00:58.510 --> 01:01.070 of replacement, looking at 01:01.070 --> 01:03.230 replacing tracking markers 01:04.110 --> 01:06.950 and screen replacements. And 01:06.950 --> 01:08.670 then thirdly, we're going to look at 01:08.910 --> 01:11.630 removal, the removal of 01:11.630 --> 01:13.150 wires and logos. 01:16.030 --> 01:17.990 Well, firstly, let's dive into 01:18.350 --> 01:20.430 addition. When 01:21.220 --> 01:23.380 when it comes to addition, well, addition 01:23.380 --> 01:26.340 or extension shots are a common type 01:26.340 --> 01:29.140 of shot because oftentimes 01:29.460 --> 01:32.260 budget or time doesn't allow 01:32.260 --> 01:35.060 for sequences to have the scale 01:35.060 --> 01:37.380 that a director envisioned. 01:37.860 --> 01:40.500 What to do?Fix it in post, of course. 01:40.500 --> 01:43.220 Well, jokes aside, set. 01:43.420 --> 01:46.380 Extensions and matte paintings have found 01:46.380 --> 01:49.220 their way into many, many films, 01:49.460 --> 01:52.020 even those that don't necessarily need 01:52.180 --> 01:54.500 futuristic cityscapes or 01:54.740 --> 01:57.460 fantasy castles. Matte 01:57.460 --> 01:59.740 painting can be used to 02:00.020 --> 02:02.900 add an alleyway or add a 02:02.900 --> 02:03.900 mountain range. 02:05.540 --> 02:08.260 Even just three extra mountains in a shot 02:08.260 --> 02:10.980 can add to the sense of majesty 02:11.060 --> 02:12.180 in a scene. 02:14.260 --> 02:17.220 Here's an example shot of some 02:17.860 --> 02:20.500 addition going on. Not that you can 02:20.500 --> 02:22.180 see the addition, but you can almost 02:22.180 --> 02:24.820 imagine what's going to take place in the 02:24.820 --> 02:26.900 shot above or the shot 02:27.460 --> 02:30.300 under here in the background. The 02:30.300 --> 02:32.580 set that was available was likely not big 02:32.580 --> 02:35.180 enough for wide shots. I mean, you could 02:35.180 --> 02:37.060 do a close-up here, but if you're looking 02:37.540 --> 02:39.940 for a wide shot of the entire street or 02:39.940 --> 02:41.900 even the entire block, that's not going 02:41.900 --> 02:44.540 to be possible. All the visual 02:44.540 --> 02:47.300 effects artists would have to do is 02:47.300 --> 02:49.860 add some background imagery rather than 02:49.860 --> 02:52.660 construct an entire CGI environment. 02:53.220 --> 02:55.820 So in this case, what we can kind of 02:55.820 --> 02:58.780 imagine here is going in, taking 02:58.780 --> 03:00.820 that green screen from this area out 03:00.340 --> 03:02.420 out and replacing that 03:03.620 --> 03:06.180 with some type of images. 03:06.780 --> 03:08.940 When you stitch images together, you get 03:08.940 --> 03:10.340 something called a matte painting. I've 03:10.340 --> 03:13.300 taught on matte painting before, and 03:14.020 --> 03:15.620 that's exactly what you could do here. So 03:15.620 --> 03:17.540 remove the green, remove that whole 03:17.540 --> 03:19.620 background section, and now you have a 03:19.620 --> 03:22.100 full, well populated 03:22.420 --> 03:25.380 large shot with a good sense of scale. 03:25.620 --> 03:27.700 But your set didn't have to be a massive 03:27.700 --> 03:30.020 set. It didn't have to break the budget. 03:30.449 --> 03:32.449 many other examples like this are even 03:32.449 --> 03:33.889 simpler, even easier. 03:36.449 --> 03:38.849 Well, just a note on subtle effects. 03:39.169 --> 03:41.209 Subtle effects like this one you just saw 03:41.209 --> 03:43.369 often don't end up being noticed by 03:43.369 --> 03:45.169 anyone. But that doesn't mean that they 03:45.169 --> 03:47.569 were a waste of time. They can change the 03:47.569 --> 03:49.809 composition and thus the feeling of a 03:49.809 --> 03:52.449 scene. They can make a location feel 03:52.449 --> 03:54.929 big and the subjects seem 03:54.929 --> 03:57.089 small or vice versa. 03:59.409 --> 04:01.889 Well, we move on secondly to replacement. 04:02.529 --> 04:05.329 Replacement. When it 04:05.329 --> 04:07.329 comes to replacement, sometimes you have 04:07.329 --> 04:09.169 something in a shunt that is almost 04:09.169 --> 04:10.969 right, but something's not quite right 04:10.969 --> 04:11.489 about it. 04:12.861 --> 04:14.541 It could be a sign that has the wrong 04:14.541 --> 04:17.181 text or logo or 04:17.181 --> 04:18.861 laptop that needs to have something 04:18.861 --> 04:21.821 displayed on its screen. These 04:21.821 --> 04:23.981 are common cases. Here's an example of a 04:24.061 --> 04:25.421 screen replacement. 04:26.861 --> 04:29.421 As you can see, screen 04:29.421 --> 04:31.981 replacements are one of the most common 04:31.981 --> 04:34.701 types of replacement shots. It's 04:34.941 --> 04:36.781 a very common type. I've worked on many 04:36.781 --> 04:39.581 of them. Often the content that's 04:39.581 --> 04:42.061 going to be displayed on a screen has not 04:42.061 --> 04:44.461 yet been finalized. It's not been decided 04:44.461 --> 04:47.261 on yet. All the content needs to 04:47.261 --> 04:49.821 be clear, not underexposed, not 04:49.821 --> 04:52.781 overexposed, not out of focus. In these 04:52.781 --> 04:54.701 cases, to ensure that everything is 04:54.701 --> 04:56.941 looking perfect, that everything is as it 04:56.941 --> 04:59.661 should be, the computer monitors on set 04:59.661 --> 05:01.661 will often have a screen like the one 05:01.861 --> 05:02.941 that you can see here. 05:05.319 --> 05:08.159 The reason that the monitor is displaying 05:08.159 --> 05:11.119 a green screen is to enable the visual 05:11.119 --> 05:13.639 effects artists to have people and things 05:13.639 --> 05:15.959 appear in front of the laptop, and using 05:15.959 --> 05:18.399 Chroma keying they can do that. So it's 05:18.399 --> 05:20.759 almost acting like a green screen. So if 05:20.759 --> 05:22.999 someone puts their hand over the screen, 05:23.479 --> 05:25.719 then they can isolate the hand and put it 05:25.799 --> 05:28.679 back in after they've replaced the green. 05:29.319 --> 05:31.159 This is all complicated stuff, but 05:31.479 --> 05:33.759 hopefully you are still understanding, 05:33.759 --> 05:36.719 you're still following along. There are a 05:36.719 --> 05:38.239 few other things you could replace. You 05:38.239 --> 05:40.919 could replace, firstly, an actor's face. 05:40.919 --> 05:43.319 You could replace a billboard or a sign. 05:43.319 --> 05:46.039 You could replace a number plate. You 05:46.039 --> 05:47.839 could replace a logo. There's a few types 05:47.839 --> 05:50.439 of logos. A logo on a laptop, a coffee 05:50.439 --> 05:52.999 mug, a pizza box, a document. These are 05:52.999 --> 05:55.919 just a few. Or as we just 05:55.919 --> 05:58.799 saw, a screen on a computer 05:58.799 --> 06:00.599 or also I put here a phone. 06:01.879 --> 06:03.479 These are some of the things you could 06:03.479 --> 06:06.439 replace. Well, finally we move 06:06.439 --> 06:09.399 on to removal. Things sometimes need to 06:09.399 --> 06:12.039 get removed and 06:12.599 --> 06:15.079 addition, replacement and now 06:15.079 --> 06:17.879 removal. When you think of the chaos 06:18.479 --> 06:20.599 of a film set, there's so many things 06:20.599 --> 06:22.759 that could need to be removed. A 06:22.759 --> 06:25.479 misplaced piece of gear or some other 06:25.479 --> 06:28.199 type of technology. Visual effects 06:28.199 --> 06:30.919 artists spend a lot of time removing 06:30.919 --> 06:33.719 things in films thanks to 06:33.719 --> 06:36.639 them. Distracting, pesky elements 06:36.639 --> 06:38.759 of a shot can be fully 06:38.919 --> 06:41.399 eliminated, removed 06:43.399 --> 06:45.639 in films that are full of stunts. A 06:45.639 --> 06:48.279 common issue is the issue of wires. 06:48.759 --> 06:51.719 Wires are essential to so many stunts for 06:51.719 --> 06:54.599 both the spectacle of the stunt and also 06:54.599 --> 06:56.839 the safety of the performer. 06:58.119 --> 07:00.119 The problem is that seeing wires in a 07:00.119 --> 07:02.839 film instantly dissolves the feeling of 07:02.839 --> 07:05.319 wonder that we. Get when 07:05.319 --> 07:08.199 watching a great stunt. It suddenly 07:08.199 --> 07:10.799 becomes a whole lot less impressive. So 07:10.799 --> 07:13.399 what's the solution?Visual effects 07:13.399 --> 07:16.119 artists have that solution. They've found 07:16.119 --> 07:18.319 ways to use the pixel data of the 07:18.319 --> 07:21.079 surrounding areas to cover up the 07:21.079 --> 07:23.719 wire and essentially remove the wires. 07:24.559 --> 07:26.439 If you've ever spent some time in 07:26.439 --> 07:29.319 Photoshop, you'll kind of recognize this 07:29.319 --> 07:30.839 technique. It's very similar to what's 07:30.839 --> 07:33.559 called a clone stamp. You take part of an 07:33.559 --> 07:36.199 image, you move it to cover other places 07:36.199 --> 07:38.119 in the video, and therefore you can 07:38.279 --> 07:40.839 remove unwanted items. 07:42.759 --> 07:45.239 Well, here we have an example shot. Here 07:45.239 --> 07:46.759 you can see an example from a recent 07:46.759 --> 07:49.479 project I had the joy of working on. In 07:49.479 --> 07:52.039 the shot we have, in fact, an invisible 07:52.039 --> 07:54.279 effect. It was actually 07:54.519 --> 07:56.599 thoroughly enjoyable to witness the 07:56.599 --> 07:58.799 viewers of this project not noticing 07:58.799 --> 08:01.159 anything strange, anything amiss about 08:01.159 --> 08:03.399 the shot. Certainly wasn't the best shot 08:03.399 --> 08:05.479 in the film, but it got the job done. 08:06.199 --> 08:08.759 Just as a little hint here, it says watch 08:08.759 --> 08:11.719 the doorbell. And if 08:11.719 --> 08:13.719 you do watch the doorbell between these 08:13.719 --> 08:16.199 shots, as you can see, it's moving. The 08:16.199 --> 08:18.919 reason for this is actually a 08:18.919 --> 08:21.239 strange one. A funny story is that 08:21.719 --> 08:24.559 in the shot then the 08:24.559 --> 08:27.479 actor reaches out for the doorbell and 08:27.479 --> 08:30.439 somehow his hand falls short and he ends 08:30.439 --> 08:31.719 up pushing the wall. 08:33.239 --> 08:36.119 Bad acting, you may say, and I wouldn't 08:36.119 --> 08:39.039 disagree with you, but at the 08:39.039 --> 08:41.959 end of the day it went unnoticed. And 08:42.359 --> 08:44.679 when we got to editing, we 08:44.679 --> 08:47.119 noticed, well, that doesn't make sense. 08:47.119 --> 08:50.039 He pushes the wall next to the doorbell 08:50.039 --> 08:52.399 and the doorbell rings. Makes no sense. 08:52.399 --> 08:55.079 So an invisible effect was needed. 08:55.319 --> 08:58.119 So what happened was we 08:58.119 --> 09:00.679 moved the doorbell along in the wall. 09:01.079 --> 09:03.479 Changed its kind of material 09:03.479 --> 09:05.759 composition a certain amount, taking out 09:05.759 --> 09:08.679 that metal plate, and in the end we 09:08.679 --> 09:11.479 have this cohesive, invisible, 09:11.479 --> 09:13.959 hidden effect that's hard 09:14.359 --> 09:15.959 for you to see. 09:19.079 --> 09:20.599 Well, I hope you enjoyed learning about 09:20.599 --> 09:23.319 the invisible effects in film. Keep your 09:23.319 --> 09:25.439 eyes open, because you never know if the 09:25.439 --> 09:27.479 shot you're looking at has gone through 09:27.479 --> 09:30.439 the visual effects pipeline or not. Has 09:30.439 --> 09:33.279 it been tampered with with some invisible 09:33.279 --> 09:36.159 effects?Well, that's the 09:36.159 --> 09:39.079 end. Thank you very much and have a nice 09:39.079 --> 09:41.639 day. We'll see you next time.