VFX Artists React to Bad & Great CGi 136

Niko and Wren and Jordan Allen break down some of the best (and worst) visual effects in some of your favorite Hollywood films!

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Chapters ►
0:00 - Welcome Back to VFX Artist React
0:16 - Fallout (No Spoilers)
6:28 - Jordan's Wasteland Scavengers Journey
8:08 - Fallout Continued (No Spoilers)
10:25 - In the Mouth of Madness
12:59 - Godzilla (1954)

[tnozaki]

Hello. I’ve been a Corridor fan since The Mini Boss video, and I just cannot believe that I made it to be on this channel. Thank you so much this is the best day!

[alastor]

That Godzilla clip was amazing! Huge props to Taiyaki!

[PopStrikers]

Godzilla '54 is burned into my brain so when I saw these clips I was like "Is this like a different scan of the og film or something?" Still didn't click until the reveal. Fantastic work

[displeased-cat]

The fact that Taiyaki even animated the Bridge by hand makes it so much more authentic for me. It looks way more like a guy in a costume walking through a way to stiff cardbord prop than if it was to be simulated. It conveys the scale of "Thats a miniature set" way better i feel like.

[anonymousaccordionist]

I'm not sure who edits the Corridor Crew videos any longer, whether Nick is still working on it or not, but the use of the THX Deep Note for Wren's epiphany moment was so perfect.

[CzechMate]

Jordan's deception and the Taiyaki reveal might be my single favorite moment in this entire series

[cable]

My jaw refuses to close after the Godzilla reveal. Truly blown away.

[BlackhartFilms]

I actually was involved in working on this one! I was part of the team that ran the LED volume in NY for Fallout. We worked on the Vertibird shots, as well as several shots you might not have realised were on the volume inside the Vault atriums, and in the Observatory in Ep8. It was a combination of techniques used. Vertibirds were largely car-process plate shoots as described but there was actually some tracking involved for the walls, but the interiors were Unreal engine and fully tracked as well.

[CDesign]

I've worked on some CGI that was meant to mimic stop motion (for advertising) and here's some of the things we learned. 1. Animate on twos - most stop motion is usually just 12 fps doubled and helps achieve that recognizable look. 2. No motion blur. It feels unnatural but you can't achieve it when shooting single frames so it affects the visual style. 3. We did a super subtle jitter in post to the exposure. When shooting stop motion, your individual frames are never EXACTLY identical so there is this tiny flicker that happened between frames. If you want it to look like less professional stop motion, you exaggerate that effect a bit. Lastly, we were trying to mimic Claymation specifically, so we had animated displacement maps to subtly "move" the surface of the clay between frames. (and our texture maps included small dents, nicks and even scanned fingerprints.)

[alecmalisheski]

8:20 “aerodynamically speaking, the aircraft cannot fly this way”
*MV-22 Osprey enters the chat*

[Toby_Taro]

I have never got my mind blown quite as hard as with that Godzilla clip, that was legendary

[MichaelROLeary]

My thoughts on the fake eye on Chris Parnell's forehead is less about thinking that's where it would originally have been replaced later and more that they wanted a reference for other actors to look at because their glances may dance between the side-by-side eyes where as here they're looking at a specific spot horizontally centered.

[wirelesmike]

Not only did he nail the look of old film, he nailed the look of the lighting that was available at the time. The differences between what was supposed to read as stop-motion, a man in a suit, and then what looks to me to be two different kinds of puppets - (one larger for head, mouth, and arm movements for close-ups, and a friggin hand puppet for "distance shots") were near perfection. Every bit of that stuff looked like it had been captured in camera. That's frighteningly well done, especially for what is essentially a "hobbyist". That is pure talent. Bravo!

[palmouf]

I am sooo impressed (and somewhat relieved) to see that the artist for the godzilla movie, ketp the default object names in the outliner ( Cube.112, Cube.113, Cylinder.08XXX ) and is not fully organized and he was managing to do such a great work

[monstermaker]

WOW! In The Mouth Of Madness! I worked on that huge creature, way back when, at KNB EFFECTS Group. WE called that creature "the parade float" I was almost entirely fabricated out of foam with sculpted animatronic heads. I think it was about 20' wide and 12' long and had multiple performers inside of it. Very cool to see it here on CorridorCrew! Big fan for a long time guys👍🏼

[ItsFreakinHarding.]

Props to Taiyaki and that Godzilla clip that he made, it looked amazing, but I'm a huge fan of Godzilla and have watched the '54 movie many times since I was a kid, and quickly realized that it was not from the original movie. Especially the stop motion stuff and the train sequence. But the fact that he did that all by himself in blender is phenomenal!

[JinxTheLooneyToon]

14:27 | *Wren's face and the THX music, Chef's Kiss*

[joelwhite]

9:30 I love how we've come so far in VFX technology that we've basically just re-invented rear-screen projection.

[MasDouc]

That Godzilla blender animation was legitimately incredible. I havent been that impressed with an animation in forever.

[kennethh]

As of right now Taiyki has 12.8k subs, myself included. We’ve doubled his sub count nicely done