When Special Effects Changed Cinema Forever

[00:00] - [Narrator] Have you ever watched a movie

[00:02] and had your mind blown

[00:05] and wondered, how did they do that?

[00:07] Well, I'm going to take that question

[00:09] all the way back to the beginning of film,

[00:12] looking at the magic

[00:14] to bring its stories to life.

[00:16] From stop-motion monsters to

[00:19] this is the evolution of movie magic.

[00:23] (soft music)

[00:29] Silence is Golden.

[00:31] Camera tricks have existed

[00:33] since there were cameras to trick us.

[00:35] One of the earliest techniques

[00:38] used to whimsical effect

[00:42] like here in the 1909

[00:46] (mellow music)

[00:54] It's a basic a technique

[00:57] to make objects appear

[01:00] or smaller than they actually are.

[01:03] Jump forward to the 1920s and

[01:06] Check out this classic

[01:09] with silent comic actor Harold Lloyd.

[01:12] How do you think this stunt

[01:15] That'd require CGI, or

[01:20] and digital computers

[01:23] In reality, the crew built

[01:26] and rigged the camera to

[01:28] was dangling perilously above the street.

[01:31] Ingenious.

[01:33] Now, Charlie Chaplin was

[01:37] Check out this scene from

[01:41] where he skates around

[01:44] with a blindfold on.

[01:46] Now don't worry, he

[01:48] The crew painted that

[01:51] on a piece of glass

[01:53] and placed it in front of the camera,

[01:55] so it only looks like

[01:58] Now that's a shift in perspective.

[02:01] As comedic as Lloyd and Chaplin were,

[02:04] they didn't compare to Buster Keaton.

[02:07] Despite being a funnyman, his

[02:11] because unlike Mister Mission Impossible,

[02:14] Buster never used wires.

[02:17] When shooting his 1932

[02:20] Keaton was supposed to jump

[02:23] without support wires.

[02:25] The jump was 13.5 feet,

[02:27] so unsurprisingly, Keaton missed the mark.

[02:31] If he had made it,

[02:32] he would've broken the

[02:36] Thankfully, there was a safety net

[02:37] underneath the camera line.

[02:39] However, this failure was a

[02:42] who found it so funny

[02:44] that Keaton decided to

[02:47] Just remember, kids,

[02:48] nothing's funnier than a near-fatal fail.

[02:51] Wait, that's a terrible moral.

[02:55] Fearsome 30s.

[02:57] You know what I love

[03:00] And back in the 1930s,

[03:01] the world met the biggest

[03:05] The great ape first appeared in 1933,

[03:08] brought to life by the

[03:11] of Willis O'Brien.

[03:12] Kong himself was created

[03:16] with aluminum skeletons

[03:19] which they moved slightly frame by frame

[03:21] to make it seem as if the

[03:25] To make it appear that Kong

[03:27] and the other creatures of Skull Island

[03:28] were interacting with real humans though,

[03:31] O'Brien projected live action

[03:36] onto a miniature set from behind.

[03:38] Doing this meant the animators

[03:39] could blend the live action

[03:43] one frame at a time,

[03:45] making it seem like real actors and beasts

[03:47] were inhabiting the same space.

[03:50] When Kong needed to touch the humans,

[03:52] they used a 20-foot-tall head.

[03:54] Makes the modern-day Kong look cute.

[03:57] And a giant hand big enough to

[04:02] If you look closely here,

[04:04] where live action footage meets animation.

[04:07] Kong wasn't the only movie monster

[04:09] to get his big break in the '30s, however.

[04:11] In the world of sci-fi horror,

[04:13] there was "The Invisible Man".

[04:16] The biggest trick here

[04:17] was getting lead actor

[04:21] When he needed to look invisible,

[04:22] they shot things without him,

[04:24] carefully timing the action

[04:26] to happen without him in the shot.

[04:28] Once this was complete,

[04:30] the same set would be entirely

[04:34] with Rains covered in

[04:37] Over this, the actor would wear

[04:39] any clothes needed for the shot.

[04:41] From the footage of the

[04:44] they created two high-contrast

[04:48] One matte blocked out the background,

[04:50] while the other blocked out

[04:51] the partially clothed invisible man.

[04:54] Then, all four pieces of film,

[04:56] the background, the clothes,

[05:00] were blended into a single shot.

[05:02] And that wasn't all.

[05:03] To capture the invisible

[05:07] a custom wooden platform

[05:08] was built with foot-shaped

[05:12] When covered with artificial snow,

[05:14] the blocks would be released one by one,

[05:16] creating the illusion

[05:17] that someone was walking unseen

[05:21] These methods were tedious and expensive,

[05:24] but the results had to ironically

[05:31] Word About Ray.

[05:33] From the '50s right up to the early '80s,

[05:36] Ray Harryhausen was the

[05:40] To breathe life into his creatures,

[05:42] the animator developed a

[05:46] It worked like this.

[05:48] Harryhausen would use a

[05:51] that he could advance one frame at a time.

[05:54] In front of that was the

[05:57] and 35-millimeter camera.

[06:00] To position the creature

[06:01] between the background and the foreground,

[06:03] the animator would slip

[06:06] between the model on the

[06:09] essentially creating two

[06:13] For the first shot,

[06:14] he'd paint the glass black

[06:17] allowing only the model and rear projector

[06:20] to be seen on camera.

[06:22] Frame by frame, he then

[06:25] behind the blackened-out foreground.

[06:28] For the second shot, the

[06:30] The background would be blacked out

[06:32] and the creature would be

[06:35] placing the monster in the real world.

[06:38] When a live action actor needed

[06:42] Harryhausen used contact points,

[06:44] where a live action fragment

[06:46] would be replaced with stop motion.

[06:48] Obviously, when filming,

[06:50] Sinbad's sword wasn't striking anything.

[06:53] So, in his studio,

[06:56] of Sinbad's sword to the skeleton's,

[06:58] making it appear that

[07:00] were hitting each other.

[07:02] The switch was so quick that

[07:06] Whilst Harryhausen's

[07:09] the frames he used to

[07:12] mostly medium or long shots.

[07:14] The animator regretted

[07:15] not having more interesting

[07:19] but time and budget constraints

[07:20] forced him to keep things simple.

[07:23] While stop motion monsters

[07:24] have disappeared from the big screen,

[07:26] the techniques Harryhausen pioneered

[07:29] influenced special effects wizards

[07:31] at houses like Industrial Light & Magic,

[07:34] not to mention the dinosaurs

[07:37] Forget dinosaurs, Harryhausen

[07:42] Green Dreams.

[07:44] You're probably familiar

[07:47] you know, an actor steps in front of one,

[07:50] the background is swapped out

[07:51] to make it look like

[07:53] How exactly this effect

[07:56] is less well known.

[07:58] Back in the 1940s when this

[08:02] the screen wasn't green at all, but blue.

[08:06] The blue screen,

[08:07] or chroma key process as

[08:10] was first utilized in

[08:14] "The Thief of Bagdad",

[08:16] a fantasy picture set in

[08:19] which later inspired the

[08:22] The blue screen was used

[08:24] to bring all sorts of

[08:27] including a gigantic, insidious jinn,

[08:30] and a spirit from Arabic

[08:33] The clever inventor of the blue

[08:37] He figured out that by placing a subject

[08:39] in front of a specific color like blue,

[08:42] he could later remove

[08:45] to separate subject from background.

[08:48] The isolated subjects

[08:49] would then be placed on top

[08:52] known as a plate, to

[08:55] He chose blue as it seems to be the color

[08:58] furthest from human skin tones,

[09:00] unless you're Will Smith's version

[09:02] of the genie in "Aladdin".

[09:04] However, if the lighting for

[09:07] you'd end up with a weird glowing halo

[09:09] around characters and objects.

[09:12] Just look at that flying carpet,

[09:13] you can see where the two shots

[09:17] While it may not be perfect to us,

[09:18] it was a major breakthrough

[09:20] for filmmakers over 80 years ago,

[09:22] and the film won an Academy Award

[09:24] for best special effects that same year.

[09:27] Hmm, I wonder how those audiences

[09:29] would have reacted to Will Smith's genie?

[09:33] Faithful 50s.

[09:35] Back in the 1950s,

[09:37] Western audiences were

[09:41] and the most biblically epic of them all

[09:43] was 1956's "The Ten Commandments".

[09:47] Wanting to beat his earlier

[09:51] director Cecil B. DeMille

[09:53] employed the latest in special effects,

[09:56] particularly in the iconic scene

[09:58] where Moses parts the Red Sea.

[10:01] For this effect,

[10:02] DeMille filmed a trench

[10:05] being pumped with 300,000 gallons of water

[10:09] and then played it in reverse.

[10:11] To make it look like the

[10:14] they shot sideways footage

[10:18] The filming of Moses and his

[10:21] to make up the foreground plate.

[10:24] The water shots were

[10:26] To create the clouds,

[10:28] they poured gray paint into a

[10:32] resulting in the illusion of a dark storm.

[10:35] The finished scene showed off

[10:39] even Moses only parted the Red Sea once.

[10:43] However, much like "The Thief of Bagdad",

[10:46] the film is plagued with

[10:50] A while later in 1958,

[10:53] master of suspense Alfred Hitchcock

[10:55] was working on his classic "Vertigo",

[10:58] and wanted a striking opening sequence.

[11:01] So he said, "I better call Saul."

[11:04] This Saul in question

[11:08] who decided the opening

[11:12] and lots of them.

[11:14] Spirals are a recurring

[11:17] and Bass insisted that these shapes

[11:19] be based on Lissajou spirals,

[11:21] mathematically calculated

[11:24] they couldn't be accurately drawn freehand

[11:27] and needed the motion of a pendulum

[11:29] on a moving animation stand.

[11:31] At the time, no animation

[11:35] without the wires getting twisted up.

[11:38] The crew decided to

[11:42] This is a mechanical computer

[11:43] used for aiming weapons at moving targets.

[11:47] These things can move non-stop

[11:49] and match the swing of a pendulum.

[11:51] So, the crew set up a

[11:55] and suspended a pendulum from the ceiling.

[11:58] This pendulum had a pen attached to it

[12:00] and was connected

[12:01] to a 24-foot-high

[12:05] As the gun director rotated,

[12:07] the pendulum would swing back and forth,

[12:10] applying paint to the cels,

[12:12] and creating the spiral drawings

[12:14] you see in the opening of "Vertigo".

[12:16] This means the opening is technically

[12:19] the first example of

[12:23] because hey, it was animation

[12:28] Huh.

[12:31] Blue to Yellow.

[12:33] As the '60s swung in,

[12:35] an engineer called Petro Vlahos

[12:38] got sick of the odd, leftover

[12:42] He wanted a much cleaner result,

[12:44] so he turned to the best

[12:48] He developed this special screen

[12:50] for the Walt Disney company,

[12:51] which was used in one of

[12:54] "Mary Poppins", released in 1964.

[12:58] The process was used to

[13:01] to an animated wonderland.

[13:03] To achieve the effect,

[13:05] the actors would stand in

[13:07] lit by a yellow hue from

[13:11] the same lights we see

[13:13] Sodium gas produces light

[13:15] at a very exact

[13:20] whereas blue screen

[13:25] Vlahos created a unique prism

[13:27] that isolated this specific

[13:31] narrowing the wavelength range.

[13:33] By shrinking the range,

[13:35] it made it easier to focus on a subject

[13:38] and capture fine details such as hair,

[13:40] smoke, motion blur, and shadows.

[13:43] You can see how the process

[13:44] managed to keep the fine mesh

[13:49] without any trace of a halo,

[13:51] which would have been

[13:55] It was better than blue

[13:58] Things on screen didn't

[14:01] and there was no limitation

[14:02] to the colors of props or costumes.

[14:05] Dick Van Dyke could

[14:07] without worrying about it

[14:09] being absorbed into the background,

[14:11] a common problem with blue screen.

[14:14] It seems like yellow screen

[14:15] was practically perfect in

[14:20] Despite multiple attempts to replicate it,

[14:22] Vlahos could only create

[14:26] which meant there was only one

[14:27] sodium vapor camera in the world.

[14:30] Not great for a company

[14:31] with a long list of projects

[14:35] The tech would go on to be

[14:38] in films like "The Birds" in 1963,

[14:42] and "Bedknobs and Broomsticks" in 1971.

[14:45] Pretty good track record

[14:49] Spaced out 70s.

[14:52] In 1972 at the University of Utah,

[14:55] students Ed Catmull and Fred Parke

[14:58] studied the emerging science

[15:01] Using Catmull's left hand as a model,

[15:04] the pair created "A

[15:07] This experimental short

[15:09] would become the first

[15:13] Okay, it's not exactly

[15:14] the most thrilling movie you'll ever see,

[15:16] but it might be the most important.

[15:18] The first use of CGI in a feature film

[15:22] was in 1973's sci-fi "Westworld".

[15:26] Computer effects were used

[15:27] for the pixelated point of view shots

[15:29] of the villainous robot gunslinger.

[15:32] To accomplish this,

[15:33] a computer scanned footage frame by frame

[15:35] and converted it into

[15:39] When shooting the scene,

[15:41] actors wore light clothing and makeup

[15:43] against a dark background,

[15:45] which was then contrasted in post.

[15:47] Each frame took a minute to scan,

[15:49] resulting in eight hours of rendering

[15:52] for a mere 10-second sequence.

[15:55] Then in 1977, a little

[16:00] flew onto our screens.

[16:02] To handle the huge number

[16:05] director George Lucas

[16:06] needed to establish his

[16:09] Industrial Light &

[16:13] While Lucas's company nailed

[16:16] like model construction

[16:19] they also used cutting edge techniques

[16:21] like computer-controlled motion cameras.

[16:24] To add some realism to

[16:27] effects wizard John Dykstra

[16:30] like a cameraman in space,

[16:32] with off-centered frames

[16:36] Lucas would go on to toy with "Star Wars"

[16:38] in the special edition releases,

[16:40] applying CGI to the film

[16:42] like you might apply a

[16:45] Take the 1997 special edition,

[16:47] where Lucas retroactively introduced

[16:49] a deleted scene between Han

[16:54] except in the 1977 version,

[16:56] Jabba wasn't a disgusting

[17:01] Lucas originally shot the

[17:03] of replacing the Jabba actor

[17:07] something big and hairy,

[17:09] but was restricted by time and budget.

[17:12] The re-release gave Lucas the opportunity

[17:14] to slap a CGI Jabba over the actor,

[17:17] though this scene has been criticized for,

[17:20] well, being bad and pointless.

[17:24] Regardless, since the

[17:27] ILM has gone on to be

[17:28] one of the biggest special

[17:34] CGI'd to Life.

[17:36] Back in the 1980s, a dude

[17:41] was playing a game of Pong.

[17:43] Clearly seeing the narrative potential

[17:45] of two paddles and a ball,

[17:47] he decided to make a film

[17:49] which became "Tron".

[17:52] This 1982 sci-fi was a

[17:57] featuring an unprecedented

[18:01] - Blue bikes, run these

[18:04] - Copy, blue leader.

[18:06] - This is gold one to gold two and three.

[18:08] Split up. Take 'em one on one.

[18:10] - [Narrator] "Tron" is a

[18:12] traditional animation, and CGI.

[18:15] Actors were filmed

[18:16] against an entirely

[18:19] Animators then went over this footage,

[18:21] adding CGI scenes on graph paper

[18:24] to match the positions and

[18:28] Computer engineers then entered

[18:30] all the required numbers by hand,

[18:33] but wouldn't see the final results

[18:35] until the images were

[18:39] and shown in a test theater.

[18:41] Sadly, "Tron" was not the

[18:45] They were even snubbed for the

[18:48] since computer animation

[18:52] Instead, the award went to

[18:56] with puppets being more their speed.

[18:58] Despite the loss,

[19:00] the film developed a cult

[19:03] They even made a sequel

[19:05] which also didn't light the world on fire.

[19:09] Maybe Pong just isn't very cinematic?

[19:12] Further advances in effects came from ILM,

[19:15] who developed the first LED

[19:19] which was used for the

[19:22] "The Empire Strikes Back".

[19:24] ILM's quad-optical printer,

[19:26] which combined images from various reels,

[19:29] was ideal for miniatures,

[19:31] as well as adaptable to both

[19:35] The innovative filmmaking

[19:36] earned Empire an Academy Award in 1980.

[19:40] Man, "Star Wars" hogs all the good tech.

[19:43] Another unexpected stride in CGI

[19:47] came with "Young Sherlock Holmes" in 1985.

[19:51] It's a fun watch, and also

[19:54] for the first entirely

[19:57] in a film.

[19:59] A knight made of stained glass

[20:01] digitized and animated by future

[20:07] This wasn't the only CGI pie

[20:11] James Cameron's 1989 film

[20:15] a mysterious creature made

[20:19] which mimicked the characters' faces.

[20:22] To accomplish this,

[20:23] actors Ed Harris and Mary

[20:27] had their faces scanned

[20:31] to map the shape of their faces.

[20:33] It'd be hard to do that with my face,

[20:35] too round and featureless.

[20:39] Go-Go 90s.

[20:42] If the '80s marked the film industry

[20:44] dipping their toe in the water of CGI,

[20:47] then the '90s were a big belly flop in.

[20:50] This era embedded computer

[20:53] like never before,

[20:55] which is when green

[20:58] When digital cameras came around,

[21:00] blue screens were

[21:03] because camera sensors are

[21:07] Most blockbusters, like the "Matrix",

[21:09] were utilizing the green

[21:12] by the end of the decade,

[21:14] though blue screens are still used today

[21:16] depending on which colors

[21:20] Inspired by the success of

[21:23] James Cameron decided

[21:25] in his next feature, "Terminator 2".

[21:29] For this 1991 sequel,

[21:32] that could match Arnie

[21:35] Eager to experiment with

[21:40] a shapeshifting android

[21:43] To capture T-1000 actor

[21:45] Robert Patrick's movements accurately,

[21:48] animators painted a four by four inch grid

[21:51] all over his body.

[21:53] They filmed Patrick walking and running,

[21:56] using the grid to rotoscope his body

[21:58] and determine how his muscles moved.

[22:01] Pressure was on to get this

[22:04] so digital renderers worked 24-hour shifts

[22:08] and had to catch naps on

[22:11] While Cameron's team was

[22:15] director Steven Spielberg

[22:17] was headed to the past

[22:20] To bring his now-famous

[22:23] the 1993 film was originally

[22:27] a form of stop-motion,

[22:29] not entirely unlike Harryhausen's style.

[22:32] However, ILM test footage of a CG dinosaur

[22:36] wowed Spielberg so much

[22:39] that he swapped out his

[22:43] Saying that, Spielberg

[22:45] in practical effects

[22:47] to use good old animatronics

[22:49] for nine minutes of dinosaur screen time,

[22:51] compared to six minutes of ILM's CGI.

[22:55] A few miles away from ILM HQ,

[22:58] a young Pixar Studios was breaking ground

[23:01] with the first feature-length

[23:02] computer-animated film, "Toy Story".

[23:06] It's fair to say that

[23:09] had a tricky production.

[23:11] Those toys went through a few ugly stages

[23:14] to get to be the characters we know today.

[23:16] Ed Catmull, yep, the hand guy,

[23:19] built the studio a new

[23:24] This allowed animators to

[23:27] like the bend of an elbow,

[23:29] and then leave it to the computer

[23:31] to complete the whole animation sequence.

[23:34] This method sidestepped

[23:36] of frame-by-frame animation

[23:40] Interesting, though the less

[23:44] the better.

[23:45] I don't want to look at

[23:50] Captivating Motion.

[23:52] The 2000s saw the rise of a

[23:57] motion capture animation,

[24:01] This is the process that involves an actor

[24:03] covering themselves in ping pong balls,

[24:06] which are actually reflective markers.

[24:09] These are tracked by infrared cameras

[24:11] during an actor's performance,

[24:13] so their movements are recorded, captured,

[24:15] and transferred to a computer.

[24:17] There, it's applied to a 3D

[24:22] Early attempts to use this tech

[24:23] in movies like 2000's "Sinbad:

[24:28] and 2001's "Final Fantasy: The

[24:35] One film that would've been

[24:39] Yes, the famous big, green ogre

[24:42] was originally meant to be

[24:45] for the characters

[24:46] and miniature models for the backgrounds.

[24:49] Only one clip of this footage

[24:51] and a few screenshots of the

[24:55] and it, err, doesn't feel good.

[24:59] The film was completely reworked

[25:00] and became a smash success in 2001.

[25:04] That isn't to say there weren't

[25:06] a few technical glitches along the way.

[25:10] Mo-cap really hit its stride

[25:15] and "Return of the King"

[25:17] when the world met Gollum,

[25:21] To create the iconically

[25:24] director Peter Jackson

[25:26] shot scenes with actor Andy Serkis twice.

[25:29] Once with Serkis performing on location

[25:32] and then again months later,

[25:33] where Serkis would

[25:35] in a motion capture studio.

[25:37] Here, the actor wore a specialized suit

[25:40] that tracked his movements

[25:43] The result was like nothing

[25:47] and now mo-cap is everywhere,

[25:52] Not to be outdone in the

[25:56] James Cameron took mo-cap

[25:57] to the next level in his

[26:02] Cameron shot the mo-capped actors

[26:04] performing on a stage, dubbed the Vault.

[26:08] Little boom cameras were

[26:11] to capture the nuance of the

[26:15] so that all aspects of their emotions

[26:17] would translate past

[26:20] Using live rendering,

[26:21] Cameron was able to see

[26:25] with the actors transformed

[26:28] so he didn't have to wonder

[26:30] about how the CGI would look

[26:36] Techy Tennies.

[26:38] Ah, the 2010s.

[26:40] Not the most thrilling year for CGI.

[26:42] After all, it was the

[26:46] of live action remakes.

[26:48] While I'm not a fan of

[26:51] I can't say they don't push

[26:55] The first film to reach

[26:58] was 2016's "Jungle Book"

[27:03] Weta Digital and Moving Picture Company

[27:06] went all out transforming an LA warehouse

[27:09] into a lush forest,

[27:10] using over 800 shots for

[27:14] Animal movements were studied

[27:16] to bring the creatures to life.

[27:18] To give Neel Sethi, who played Mowgli,

[27:20] something to act next to,

[27:22] Jim Henson's puppets

[27:25] These were later swapped

[27:28] in the finished film.

[27:29] Even body parts of the young actor

[27:31] were occasionally replaced

[27:34] to make it seem like he

[27:36] with the CG animals.

[27:38] The success of this saw Favreau

[27:40] make the "Lion King" in 2019,

[27:43] but well, the less said

[27:47] The 2010s weren't just about

[27:51] Starting with "X-Men: Last Stand",

[27:54] audiences have seen de-aging technology

[27:56] become increasingly used in films,

[27:59] allowing filmmakers to restore

[28:01] how actors once looked in iconic roles

[28:04] and create films spanning a lifetime

[28:06] without needing to change the actor out

[28:08] for someone older or younger.

[28:11] Look at 2019's "Gemini Man",

[28:13] which CG'd a whole new Will

[28:18] Few films have taken de-aging

[28:20] as far as Scorsese's 2019

[28:25] The team, led by, you guessed it, ILM,

[28:28] designed a fancy new camera rig

[28:31] that would allow director Martin Scorsese

[28:33] to shoot as he normally would,

[28:35] while simultaneously

[28:38] to de-age the actors.

[28:40] ILM whipped out their

[28:45] that merged data with the camera images

[28:47] to make masks out of each actor's face,

[28:50] basically, a young head on old shoulders.

[28:54] Let's be real, though,

[28:55] this film isn't always that convincing.

[28:57] To me, this shot of a de-aged De Niro

[29:00] looks like something out of a video game.

[29:03] Another thing about the 2010's

[29:07] have access to computer technology

[29:09] closer to what Hollywood's working with

[29:11] now than ever before.

[29:13] YouTube artist Shamook

[29:15] even made their own

[29:17] using a deep fake to

[29:20] with his younger self, which

[29:24] A deepfake algorithm understands

[29:26] the attributes of a person's face

[29:28] and manipulates the features

[29:30] while keeping the original

[29:34] Personally, I'm on the fence.

[29:36] Which do you think looks

[29:40] 2020 Foresight.

[29:43] Despite all these incredible

[29:45] computer animation advancements,

[29:47] sometimes I get tired of

[29:50] whenever I go to the movies,

[29:51] and I'm not alone.

[29:53] However, there's been a shift

[29:54] in this decade's biggest blockbuster hits

[29:57] like "Top Gun: Maverick",

[29:59] "Everything Everywhere All

[30:02] where filmmakers have made efforts

[30:04] to blend practical and special

[30:08] "Star Wars" spin-off "The Mandalorian"

[30:10] has taken a step away

[30:13] and incorporated

[30:16] called StageCraft.

[30:18] I know "The Mandalorian"

[30:21] but it was in November.

[30:23] Sue me.

[30:24] Anyway, StageCraft creates

[30:29] that move in sync with the camera.

[30:31] If the camera swings

[30:34] the background shifts in

[30:38] maintaining the illusion.

[30:39] You see, the problem with green screens

[30:41] is that it projects a lot

[30:44] that needs to be fixed in post,

[30:47] leading to flat, unrealistic lighting.

[30:49] With StageCraft, light comes

[30:53] making the footage a little more natural.

[30:56] Filmmakers can adjust settings constantly,

[30:58] like exposure, color, animation playback,

[31:01] and fill lighting.

[31:03] While more films might incorporate

[31:04] a blend of practical and

[31:08] the industry also might chase AI tech.

[31:11] Remember "The Irishman" deepfake?

[31:14] Shamook, that face-swapping YouTube artist

[31:16] who created "The Irishman" video,

[31:18] has recently been hired by ILM.

[31:21] In an industry where actors

[31:22] are increasingly replaced

[31:25] like this clip from Disney's

[31:29] man, that's tragic.

[31:31] It's going to be

[31:34] to see how far it goes.

[31:37] What shape do you think practical effects

[31:39] will take in the future?

[31:40] Did any here really blow your mind?

[31:42] Let me know in the comments below

[31:44] and let me know if you

[31:46] on filmmaking in the future.

[31:47] In the meantime, be sure to like, share,

[31:49] and subscribe for more amazing content.