Open discussion about ILM and the magic they create. Also VFX and movies in general. Anyone can post topics here.

Moderator: malducin

#34627
So let me get this straight. Disney can afford to conquer multiple motion picture giants, they can afford a $15 million recreation of the "Friend Like Me" number (which was actually fabulous, by the way), but an adequate final showdown was just too expensive to create?
I dont even remember the animated film's climactic showdown. Didn't it have something to do with lava?
#34628
No, it had to do with the bad guy turning into a giant snake and making James Bond puns while doing a lot of fucked up shit that would've been awesome in a live-action setting.
Spoiler: show
None of which happens in this version
Ninja turtle, I thought the Genie looked mostly fine, and the animation of him was pretty creative, though it pales in comparison to the animated version, but it's more attributed to Will Smith's more limited range in imitating others than it is to the animators.

The internet hates CGI if it's in a movie that isn't well-received. And I thought this movie was lukewarm, maybe a C- if I were grading it. I will give it credit for being better than the live-action BEAUTY AND THE BEAST, but of all the animated classics Disney has in its vault, ALADDIN is by far the most squandered opportunity. It's every bit a cynical cash grab as all the other live-action remakes, save for PETE'S DRAGON.
#34630
Yes, I loved the PETE'S DRAGON remake. Why can't all the Disney remakes be like it? How cool would it have been if ALADDIN took place in modern times? Or maybe they just went in a different direction with the material, such as making Jafar the good guy in a plot twist? That's kinda something I liked about MALEFICENT, although it wasn't a good movie overall.

Anyhoo, BRIGHTBURN was way better than ALADDIN. See that in theatres instead. Wait for ALADDIN on Netflix, because chances are Disney isn't gonna adhere to my ideas for a sequel.
#34643
As am I.

Have only talked to Method about their sequences and will probably talk to Mr X too, but with so many vendors and only about 2000 words, there isn't any way to do this justice outside of briefly summarizing the rest of the work (which is dependent on reaching production's vfx super, which hasn't happened.)

But the trailer looked even better than I expected. Weird that they have 3 SPACE COWBOYS alum in this, but funny too, because I think there is a still from that film (of Tommy Lee) shown in the trailer. Between this and the FOR ALL MANKIND trailer from Apple, this has been a good space week for me (have been trying to get a lock on latter to cover, but no responses at all.)

Have been getting lots of assignments lately, many of which are actually turning out (knock wood.) Got AD ASTRA and STRANGER THINGS for Fall VFX VOICE, CATCH-22 and CHERNOBYL and probably THE OA for their website, LION KING and GEMINI MAN for August and October ICG, and some non-FXy stuff too, for ICG and STUDIO DAILY.
#34645
Loved GOOD OMENS (never read the book), vfx somewhat stylized at times, but man is this funny and a showcase for the leads!

Also loved DEADWOOD finale (believe we have some CG train stuff, either that or the fastest moving locomotive in history, because it looks about ready to go back in time before it enters Deadwood.) Phenomenally solid wrapup to one of the best shows of the century (for me, up there with CARNIVALE and THE HOUR, just beneath THE WIRE.)
#34678
I wonder who will be working on Disney's next live-action remake, THE LITTLE MERMAID? It seems ripe for visual potential, but I've been disappointed by this before...
You are right the opportunities exist for this to be the best visually of the live action adaptations. This sounds more promising than that Cats adaptation.
#34682
I've often wanted to write a film with a VFX guy as the subject, probably a spy film, since with all the globetrotting you have to do this century to keep your job, it seems a perfect cover for infiltrating every continent. I suppose I'll give it a try when The Other Cold Pole VFX opens for business in Antarctica.

How would a VFX company respond publicly if a government-issued image found to be doctored had a digital fingerprint indicating their proprietary software was used?
#34683
The villain in the underwhelming SPIDER-MAN: FAR FROM HOME was a goddamn visual effects artist. A reflection on how the film industry and basement-dwelling neckbeards feel about the profession, mayhap?
I thought the villain was an Alex Jones type conspiracy theorist who crowdfunded?

Kmart, I heard the Emperor penguins offer some generous subsidies. All the mackerel icefish you can eat.
#34687
I wonder who will be working on Disney's next live-action remake, THE LITTLE MERMAID? It seems ripe for visual potential, but I've been disappointed by this before...
You are right the opportunities exist for this to be the best visually of the live action adaptations. This sounds more promising than that Cats adaptation.
We kind of already got it.

It was called "Aquaman". :D
The villain in the underwhelming SPIDER-MAN: FAR FROM HOME was a goddamn visual effects artist. A reflection on how the film industry and basement-dwelling neckbeards feel about the profession, mayhap?
:lol: It's really just an update of what his original character was in the comics. His 1960s origin is that Quentin Beck is a "special effects designer" who dreamed of being a director or an actor, despite lacking the talent for the former and the looks for the latter. And what do you do when you can't accomplish your dream? Well, if you're a 1960s comic book character, YOU BECOME THE VILLAIN!!!!! So he used his special effects and makeup skills to assume different identities and make his Mysterio persona with clouds of smoke and gas and basically just use practical special effects techniques to parade around like someone with actual superpowers.

I haven't seen the movie (nor do I really desire to) but from what I gather, it's quite the clever way of updating things for the 2019 audiences. :thumbup:
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