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Hey, remember that time a guy did a fantasyandnbsp;
trilogy filled with visual effects and everybodyandnbsp;

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loved it, and they wanted more
-- but then he came back withandnbsp;

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a prequel trilogy filled withandnbsp;
CGI and people were like "NOPE"

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Ladies and gentlemen welcome to part fourandnbsp;
of "No CGI is really just invisible CGI"andnbsp;

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I'm Jonas and I have been makingandnbsp;
CGI for film and TV for 19 yearsandnbsp;

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Today we're looking at why CGI fell from grace inandnbsp;
the first place and why studios think they haveandnbsp;

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to lie about it, and I'll admit that maybe thereandnbsp;
is something to the whole "too much CGI" thing.andnbsp;

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I promised you I was going to save the best forandnbsp;
last, so today we're also taking a look at thatandnbsp;

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one project that has more no CGI than any other
"but we're not using CGI on this one"andnbsp;

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But first, let's start onandnbsp;
a positive note for once.andnbsp;

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Here are some people who areandnbsp;
not afraid to talk about CGI.andnbsp;

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I mean I wept when I was looking at the creditsandnbsp;
of the of the CGI team. I was just like "lookandnbsp;

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at all these people that made this movie"
You guys have done such an extraordinaryandnbsp;

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job. For those of you who haven't recentlyandnbsp;
watched Guardians of the Galaxy Volume 3,andnbsp;

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watch it again just with the VFX in mind, andandnbsp;
you will be blown away. It's truly a master classandnbsp;

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This is a shot we did practically. Noandnbsp;
I'm just kidding, this is a CG shot.andnbsp;

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Junior is not de-aging - soandnbsp;
it's not my face and thenandnbsp;

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they smoothed it out. It's a 100% digital human.
Seth Macfarlane has repeatedly praised Framestoreandnbsp;

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for their great work on his Ted show.
Juan Antonio Bayona makes no effort andnbsp;

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to hide that CGI is present throughoutandnbsp;
his Netflix drama Society of the Snow,andnbsp;

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releasing several promos that celebrate theandnbsp;
teamwork between stunts, special effects, visualandnbsp;

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effects and even previs. That was great to hear,andnbsp;
but quite frankly it also makes it all the moreandnbsp;

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embarrassing to listen to those who are ashamedandnbsp;
to talk about visual effects. Check this one out:andnbsp;

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Besides the more obvious use of computerandnbsp;
animation, Gran Turismo also features greenandnbsp;

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screen shots, crowds, stadiums and environments,andnbsp;
and as VFX supervisor Victor Miller says to Ianandnbsp;

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Failes from Befores and Afters, lots ofandnbsp;
shots with CG cars in liveaction platesandnbsp;

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and even completely digital shots.
Neill Blomkamp has a history ofandnbsp;

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making great looking visual effects films soandnbsp;
it's no surprise he would repost the articleandnbsp;

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about the great effects in Gran Turismo,andnbsp;
repeatedly praising the visual effects team.andnbsp;

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But it gets weird when Sony releases theirandnbsp;
promo about the film, stating "no greenandnbsp;

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screens - that's just how Neill Blomkamp rolls"
He wanted to make it really practical and shot.andnbsp;

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The temptation is to go all digital. The carsandnbsp;
could be animated, you could film the tracksandnbsp;

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as background plates and do digital cars.andnbsp;
But in this case -- everything is real.andnbsp;

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Actors and directors are still at work whenandnbsp;
they give interviews and sometimes it soundsandnbsp;

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almost as if they're reading from a script.
This is Gran Turismo's production notes fromandnbsp;

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the official press kit, and anyone from theandnbsp;
trades who wanted to write about how the filmandnbsp;

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was made would only have this to go on:
The temptation is to go all digital.andnbsp;

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You could film the tracks as backgroundandnbsp;
plates and do digital cars. But in thisandnbsp;

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case -- everything is real.
It's always a treat for anandnbsp;

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audience when something feels more real.andnbsp;
Shooting this movie without green screens.andnbsp;

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It's very practical that's what I got from Neillandnbsp;
when I met him, to make it as real as possible.andnbsp;

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It's funny because you hire a guy who'sandnbsp;
primarily like a Sci-Fi guy and when weandnbsp;

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showed up on set he just wanted everything toandnbsp;
be real. He didn't want any CGI in this movie.andnbsp;

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How did we get here?
When I saw the Super Bowl trailer forandnbsp;

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Independence Day in 1996 the whole theater lostandnbsp;
their minds over this one shot but the days whenandnbsp;

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you can impress the audience with a single shotandnbsp;
like that are over computer graphics for movies inandnbsp;

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the 80s was very experimental and the effects wereandnbsp;
supposed to stand out as obvious effect shots butandnbsp;

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not in a bad way the '90s gave us the revolutionsandnbsp;
we needed to get to where we are today withandnbsp;

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Jurassic Park introducing photo real creaturesandnbsp;
twister freed the camera by integrating 3Dandnbsp;

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animations in completely uncontrolled camera movesandnbsp;
and the Star Wars special editions experimentedandnbsp;

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with just how much you can aler footage thatandnbsp;
wasn't shut with visual effects in mind theandnbsp;

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2000s used this new tool to do a complete rebootandnbsp;
of superhero movies fantasy movies action moviesandnbsp;

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period pieces warror movies horror movies scienceandnbsp;
fiction monster movies and disaster movies CGIandnbsp;

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was the new hot thing in film making and DVDs wereandnbsp;
loaded with bonus material boasting how extensiveandnbsp;

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it was used so far people were very happy withandnbsp;
how it was used to make new adventures possibleandnbsp;

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and expand characters story and World buildingandnbsp;
the Cinematic superhero universes exploded in theandnbsp;

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2010s and people were on board for the most partandnbsp;
because these superhero comic book panels wereandnbsp;

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never particularly grounded in reality and theyandnbsp;
have never been Faithfully put on screen beforeandnbsp;

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they could get the scope that only CGI could giveandnbsp;
them but with a Whole Decade of digital effectsandnbsp;

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used to turn every single salmer Blockbuster up toandnbsp;
11 with wall to- wall spectacle slowly we began toandnbsp;

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realize we'd seen it all and the days when youandnbsp;
can blow our socks off with a single shot like

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this arone CGI had no limits and filmmakersandnbsp;
had learned that they could do whatever theyandnbsp;

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want but as it turns out for some filmmakersandnbsp;
whatever they want isn't necessarily somethingandnbsp;

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we want to see I am directly the oh enemy SCandnbsp;
and with some clear onetoone examples of theandnbsp;

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animatronics predecessor being moreandnbsp;
popular with audiences than the newandnbsp;

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CGI version the audience understandablyandnbsp;
started to notice how all movies lookandnbsp;

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like CGI these days and they wanted less ofandnbsp;
it the problem is that's not really how CGI

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looks all the way back in the '90s when youandnbsp;
were busy talking about T2 and Jurassic Parkandnbsp;

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George Lucas slipped under your radar with theandnbsp;
radioland murders secretly showing audiences theandnbsp;

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first seamless 3D set extensions that no one hadandnbsp;
any clue where it film for real the young Indianaandnbsp;

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Jones Chronicles had more invisible digitalandnbsp;
effects than any average viewer would haveandnbsp;

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been able to comprehend if you had told them andandnbsp;
laid the Revolutionary groundwork for how moviesandnbsp;

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have been made since and are still made to thisandnbsp;
day Forest gum won the visual effects Oscar forandnbsp;

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its mostly invisible visual effects and parallelandnbsp;
to the revolution of CGI spectacle and Magic invisandnbsp;

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ible CGI has been essential to both big budgetandnbsp;
and lowbudget movies for three full decades nowandnbsp;

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and there's no way film making is letting go ofandnbsp;
it visual effects artists have been omitted fromandnbsp;

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the credit since matte painting to maintain theandnbsp;
illusion that everything was filmed for real butandnbsp;

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it goes much deeper than that but the train crashandnbsp;
in The Fugitive Horner brothers were proud to useandnbsp;

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only a fullscale train and not cheat with anyandnbsp;
miniature work this is in the era before digitalandnbsp;

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effects really were in their Forte we decidedandnbsp;
in in general that we would create a real trainandnbsp;

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crash but the crash didn't go as planned and theyandnbsp;
had to resort to a visual effects combination ofandnbsp;

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the full scale train and miniature effects butandnbsp;
no one outside the production would ever knowandnbsp;

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about it well we weren't allowed to talk aboutandnbsp;
it and mention that there was visual effects onandnbsp;

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the movie W of Brothers had it in our contractandnbsp;
because we did crash a train but unfortunally umandnbsp;

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it didn't work it jumped the track and droppedandnbsp;
too early but hey that that miniature crash isandnbsp;

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still practical and not CGI so it's a differentandnbsp;
conversation right not really the studio wantedandnbsp;

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you to believe that what they did was more realandnbsp;
than all the miniature work and trick photographyandnbsp;

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everyone else was using so when they endedandnbsp;
up using the same miniature effects and trickandnbsp;

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photography as everyone else they lied we usedandnbsp;
an actual railroad this was not Miniatures itandnbsp;

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was not trick photography so it was fairly easyandnbsp;
for the studios to respond to the misconceptionandnbsp;

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that CGI looks like this but telling you what youandnbsp;
want to hear real sets practical effects there wasandnbsp;

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a feeling when I was a kid when I saw Star Warsandnbsp;
for the first time that it was all practical andandnbsp;

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real JJ's trying to make sure these movies have aandnbsp;
physicality to them the ability to have an actualandnbsp;

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physical Droid on set animating as he would thatandnbsp;
was as real as anyone else that was an incredibleandnbsp;

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goal industrial lightting magic recently markedandnbsp;
the anniversary of Steven Spielberg's Empire ofandnbsp;

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the Sun by remember remembering the visual effectsandnbsp;
which included Miniatures Optical compositing matandnbsp;

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paintings and probably the world's first CDandnbsp;
formation of airplanes flying over Shanghaiandnbsp;

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the film's producer Frank Marshall literallyandnbsp;
the Same Day celebrated the film as all realandnbsp;

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no visual effects this film is from 1987 whyandnbsp;
lie about it now it's not like you're boostingandnbsp;

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ticket sales in the Revenant Leonardo DiCaprioandnbsp;
fights a completely realistic Island bear in anandnbsp;

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Incredible 4minute One Shot which should haveandnbsp;
put the final nail in the cofin for anyone whoandnbsp;

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says CGI doesn't look real or scary doesn't haveandnbsp;
weight because short of fighting an actual bear noandnbsp;

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practical film making methods could ever produce aandnbsp;
scene as real as this 20th Century Fox celebratedandnbsp;

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this mind-blowing milestone in visual effectsandnbsp;
by going behind the scenes of the bear attackandnbsp;

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in a two-minute promo titled bear attack behindandnbsp;
the scenes and it plays out like this the makeupandnbsp;

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in this movie is the most incredible makeup I'veandnbsp;
seen probably in my life the whole of Leo's bodyandnbsp;

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was covered with prosthetics there attacks his armandnbsp;
so he had an appliance for his arm and also hisandnbsp;

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hand and his leg gets dislocated it took us 4 andandnbsp;
1/ half hours to apply all that matters is whatandnbsp;

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they get on camera the makeup is so importantandnbsp;
you could see the journey in his face yeah noandnbsp;

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the promo titled bear attack behind the scenesandnbsp;
doesn't actually show you in a single image howandnbsp;

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they filmed the bear attack because then you wouldandnbsp;
have seen this guy and then I the bear SC that wasandnbsp;

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the best use of special effects I think I've everandnbsp;
seen he never lets me talk about how exactly heandnbsp;

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pulled this off since the studio has all braggingandnbsp;
rights to how great everything in the film turnedandnbsp;

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out including the visual effects the promo reallyandnbsp;
should have mentioned the CGI Bearer for [andnbsp;__

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sake ilm compositor tot vieri has documentedandnbsp;
this as the VFX cycle of misinformation and itandnbsp;

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goes something like this stage one the studioandnbsp;
releases promos and interviews emphasizing theandnbsp;

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Practical side of filming we had these physicalandnbsp;
locations we had the real mountains the real woodsandnbsp;

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the real River the real Snow you dressed entireandnbsp;
areas of the downtown like Calgary and Edmontonandnbsp;

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and a stretch of highway stage two online mediaandnbsp;
demonstrates astoundingly horrendous journalismandnbsp;

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in a series of Articles and videos stating howandnbsp;
this show is different from other shows becauseandnbsp;

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they prefer practical effects Mazen insistedandnbsp;
that the infected not be created with visualandnbsp;

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effects for fear of them looking cheap he wasandnbsp;
dead set on using practical effects stage threeandnbsp;

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you gobble up these articles and generate freeandnbsp;
hype for the show by raving about how good itandnbsp;

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looks because it's practical instead of CGIandnbsp;
while literally talking about shots that areandnbsp;

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full CGI stage four after release the visualandnbsp;
effect Studios release breakdowns that showandnbsp;

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the mind-blowing amount of great CGI used but theandnbsp;
average viewer will never know feeling confidentandnbsp;

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that they should continue to demand practicalandnbsp;
effects because that's got to be why this showandnbsp;

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looked so good right every shot that we shootandnbsp;
needs to be touched in some way by visual effectsandnbsp;

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there's everything on this show from airplaneandnbsp;
crashes to war torn destruction in Big Cityandnbsp;

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alien Romulus is going through these stages asandnbsp;
we speak stage one director fed Alvarez sayingandnbsp;

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in interviews that all aliens had a practicalandnbsp;
puppet version and he has this obsession withandnbsp;

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no green screen and if you took the VFX outandnbsp;
of of the film you wouldn't miss much stageandnbsp;

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two news outlets like discussing film take thisandnbsp;
to mean that all sets and creatures in the filmandnbsp;

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are practical stage three users pick up the baitandnbsp;
and claim finally a movie with practical effectsandnbsp;

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this guy gets it for only the 17th time in theandnbsp;
last year the puppets and animatronics and alienandnbsp;

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ramulus are being made by some of the best peopleandnbsp;
in the world and I have no doubt they're going toandnbsp;

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be absolutely amazing but when your visual effectsandnbsp;
workload is so big it has to be split between allandnbsp;

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these visual effects vendors I guarantee youandnbsp;
that's a lot of no CGI since actors have noandnbsp;

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idea what goes on in post- production it's easyandnbsp;
to toss them at the press in stage one to talkandnbsp;

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about all the CGI they didn't use for filmingandnbsp;
because how could there be CGI during filmingandnbsp;

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it's not like the animated characters walk aroundandnbsp;
on the set Michael Katon launched stage one forandnbsp;

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the upcoming Beetle je sequel simply by saying itandnbsp;
had to feel handmade which got sent straight toandnbsp;

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stage two by the media and the users played theirandnbsp;
part by exploding into stage three generating freeandnbsp;

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hype for Warner Brothers I'm sure it will haveandnbsp;
stop motion and awesome practical effects butandnbsp;

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the visual effects credits include CG generalistsandnbsp;
3D modelers riggers animators and groom artistsandnbsp;

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everything you need for CG environments andandnbsp;
characters so make of that what you will Timothyandnbsp;

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Shamy made similar headlines for Dune part two byandnbsp;
saying the worm he writes is completely practicalandnbsp;

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causing a similar response from the crowd and ofandnbsp;
course there was a practical rig for shooting andandnbsp;

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parts of it undoubtedly made made it into severalandnbsp;
shots but no obviously that doesn't mean the wormandnbsp;

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he writes in the film is completely practicalandnbsp;
hang in there people we're almost at the endandnbsp;

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I'm just going to bust some myths CGI doesn'tandnbsp;
require skill Artistry craft or Talent digitalandnbsp;

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sculpting requires the same human talent andandnbsp;
Artistry as any physical media as does all otherandnbsp;

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aspects of CGI texturing a 3D object takes theandnbsp;
same skill and attention to detail as paintingandnbsp;

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a practical model 2D animators 3D animatorsandnbsp;
and stop motion animators are all animatorsandnbsp;

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and they've studied the exact same animationandnbsp;
Bibles on timing weight and movement the Oldandnbsp;

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Masters used the best state-of-the-art toolsandnbsp;
they had available to them at the time and theandnbsp;

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idea that they wouldn't Embrace new technologyandnbsp;
if they were here today is ridiculous as seenandnbsp;

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in this historically accurate documentary fromandnbsp;
1989 anything fake immediately takes me out ofandnbsp;

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the movie yeah people who grew up in the 'andnbsp;
80s or earlier never had any such weaknessandnbsp;

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practical effects and Optical compositing reallyandnbsp;
weren't usually as good as people remember themandnbsp;

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but we didn't have a problem with it back thenandnbsp;
because we went to the movies for the stories Iandnbsp;

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can always tell when something is CGI this is cuteandnbsp;
what happens is people will go to the movies andandnbsp;

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say this is CGI this is CGI that CGI that CGI andandnbsp;
they will look at their list and say oh look I gotandnbsp;

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them all I can always tell when something is CGIandnbsp;
this is confirmation bias also known as the two-andnbsp;

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pay fallacy if you still think you can spot allandnbsp;
the CGI follow me around the room this house isandnbsp;

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CGI this house is CGI this jet is CGI the cave isandnbsp;
CGI this jet is CGI these guys are CGI these guysandnbsp;

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are CGI those guys are CGI these guys are CGI thisandnbsp;
line is CGI this line is CGI no wait that was theandnbsp;

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reference this line is CGI that jet is CGI theseandnbsp;
cars are CGI these cars are CGI those cars are CGIandnbsp;

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and these these cars are CGI actually the entireandnbsp;
bottom half of the shot is CGI this jet is CGIandnbsp;

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this snow is CGI these jets are CGI almost all theandnbsp;
cows are CGI this hat is CGI Michael Fender is CGIandnbsp;

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and this dress is CGI okay are you making some ofandnbsp;
those up nope they're all real probably worth the

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Google when I said I was going to save theandnbsp;
best for last this is it in 1982 the publicandnbsp;

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driven film The Dark Crystal directed byandnbsp;
Muppet veterans Jim Henson and Frank Oandnbsp;

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opened to mixed reviews but eventually grewandnbsp;
a cult following a prequel series premieredandnbsp;

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on Netflix in 2019 promoting itself on matchingandnbsp;
the look of the old movie by using these greatlandnbsp;

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looking puppets the Project Director Lou Landnbsp;
who is already famous on this channel withandnbsp;

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his practical approach to fast X presented theandnbsp;
project with Jim Hanson's daughter Lisa Hansenandnbsp;

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at ComicCon with these words I mean listenandnbsp;
I I love CGI but we're not using CGI on this

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one okay let's hear what the show's visual effectsandnbsp;
vendor deck has to say episode one draws us deepandnbsp;

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into the heart of this world introducing us toandnbsp;
many of these diverse Landscapes and creatures aandnbsp;

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significant number of shots required us to createandnbsp;
a variety of CG set extensions as well as severalandnbsp;

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fully CG environments it was decided not toandnbsp;
build the a as a practical set but to insteadandnbsp;

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create it as a fully asset additional layers ofandnbsp;
detail were however implemented into the designandnbsp;

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simply not possible with the technology and toolsandnbsp;
of 1982 a global team of talented artists andandnbsp;

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technicians created these visual effects in overandnbsp;
4,200 shots across the whole series but we're notandnbsp;

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using CGI on this one H weird but maybe he wasandnbsp;
just talking about the puppets it's puppets manandnbsp;

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puppets it's all puppets that's it he just meantandnbsp;
the characters are puppets no CGI and the Jets Iandnbsp;

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mean puppets in addition to the environment workandnbsp;
across the whole show we also created around 50andnbsp;

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CG characters and creatures from Digi doublesandnbsp;
of hero puppets to original and bespoke fullandnbsp;

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CG creatures these were all model textured riggedandnbsp;
and animated to emulate and integrate seamlesslyandnbsp;

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into the puppet world of which they were a partandnbsp;
we you know we're Hing here there things you knowandnbsp;

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rasing rods erasing a rod here and there Louie isandnbsp;
referring to rig removal a great way to make moreandnbsp;

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elaborate puppets and then remove the rigs andandnbsp;
post an option that films before the digital ageandnbsp;

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didn't have but this is not rig removal these areandnbsp;
completely computer animated Hero characters thatandnbsp;

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Lou ler relied on to tell his story film sitesandnbsp;
like Bloody Disgusting reposted L news that theandnbsp;

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show will be pure puppetry with no CGI the articleandnbsp;
is still up even though they should know by nowandnbsp;

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how ridiculous it is check out the comments thankandnbsp;
you about time a movie does away completely withandnbsp;

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CGI I would have boycotted the film if it wasandnbsp;
shot with CGI do you want to tell him or should

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I the highest praise for a stunt people is ifandnbsp;
the viewers had no idea they were there neverandnbsp;

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realizing that the movie cheated and swapped theandnbsp;
main actor with a standin if the audience thinksandnbsp;

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rer Mo did this job well done so why is this anyandnbsp;
different in visual effects why do you have toandnbsp;

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know that top gun Maverick has more visual effectandnbsp;
shots than black panther simply put you don't ifandnbsp;

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you thought these Jets were real these setsandnbsp;
were practical and that the racing scenes inandnbsp;

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Fort versus Ferrari and Gran Turismo were capturedandnbsp;
in camera great hats off to everyone who worked onandnbsp;

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the film for collaborating on a great end resultandnbsp;
when I saw Jurassic Park in 1993 I knew there wereandnbsp;

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going to be some computer an animated dinosaursandnbsp;
but I saw nothing in the movie that reminded meandnbsp;

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of what I knew computer animation looked likeandnbsp;
so my brain didn't understand what was going onandnbsp;

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I had no idea where animatronics ended and CGIandnbsp;
began and to me they were all just dinosaurs ifandnbsp;

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I'd seen the behind the scenes footage beforeandnbsp;
I saw the movie I wouldn't have been nearlyandnbsp;

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as emerged in the film so I understand the needandnbsp;
for some secrecy up until a movie is released youandnbsp;

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don't necessarily need to see what's behind theandnbsp;
curtain but it's one thing to just make your moveandnbsp;

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with CGI so good the audience doesn't notice it'sandnbsp;
another thing to respond to the audiences we wantandnbsp;

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less CGI by making your movie with a ton of CGIandnbsp;
but promoted as no CGI causing the audience toandnbsp;

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think that's it it's good because it's practicalandnbsp;
therefore we want less CGI and now the studos areandnbsp;

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caught in a no CGI Loop they can't get out of toandnbsp;
the point where no one outside the movie industryandnbsp;

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knows anything about how movies are made anymoreandnbsp;
because the behind the scenes footage itselfandnbsp;

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is now visual effects footage that hides whatandnbsp;
actually happened behind the scenes if you'reandnbsp;

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fine not knowing how movies are made and just wantandnbsp;
to be entertained that's cool but if you do wantandnbsp;

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to know Hollywood isn't telling you make up yourandnbsp;
own mind about CGI but remember when a directorandnbsp;

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says they like to get things in camera when anandnbsp;
actor says they didn't use a lot of CGI when theandnbsp;

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media says a movie preferred practical effects andandnbsp;
when anyone says they can always but CGI know this

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that is one big pile of [andnbsp;__
the takeway thanks for watching what I did notandnbsp;

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know 6 months ago that at the end of this seriesandnbsp;
I'd have 75,000 subscribers and 2 million viewsandnbsp;

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a heartfelt thank you to all of you for explodingandnbsp;
this channel unless people continue with a no CGIandnbsp;

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nonsense this no CGI series is over but ifandnbsp;
you want to continue down the movie rabbitandnbsp;

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hole and get nerdy about screenwriting actionandnbsp;
movies science fiction explosions editing thenandnbsp;

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ladies and Gentlemen please do hit like Andandnbsp;
subscribe because we are just getting started