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The Digitization of Cinematic Visual Effects: Hollywood's
Describe the connection issue. In the early days of CG, Pixar made toys that talked.
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Until recently, vain actors were limited to makeup, flattering lighting, corsets, plastic surgery, Botox, crash diets, personal trainers, steroids, muscle suits, color grading, lenses and filters, body doubles, and spray-on abs. Now they also have software: Zits vanish with a click.
Abs harden. Jawlines sharpen. Cellulite vanishes. At first Lola struggled to get faces right but then achieved an industry breakthrough by hiring an actual plastic surgeon and adapting his techniques.
The Digitization of Cinematic Visual Effects
Effects can fix bad wigs, or work like Clearasil. Beauty work is budgeted into most shows and films — and is considered such a priority that several industry sources say that they often cut other expenses to afford it. So firms present three options to a director: low, medium, or high retouching. Do they have a case?
Does it matter? Despite fan criticism, most CGI effects are undetectable. Fans only notice effects when they see no other way the shots could have been generated, or if the production ran out of time and money to finish them properly. What this rhetoric neglects or clouds is the actual, nearly impossible situation of contemporary effects production. You note that the effects work on a given film is often spread around the world in multiple locations, and the companies involved often make little money.
How is that? It is due to the crippling project bid model of contracting for work that makes profit margins so thin.