Whilst the application of their method varies between sets and projects, the kinds of questions they ask when deciding how light should be applied follow a fairly consistent pattern. The challenge here then becomes one of aligning the final vfx shot with what the director of photography (DP) had in mind live on-set.ĭP’s and cinematographers make creative decisions on how best to guide the viewer’s eye within any given frame, using appropriate lighting equipment and techniques. The idea here is that CG elements should appear as realistic as possible, so as not to break the audience’s immersion and interrupt the story. Yet, usually, the end goal in both cases is to attain what pre-CG films, or films without CG, intrinsically enjoy: photorealism. In turn, films are increasingly relying on special effects and computer-generated imagery (CG) to varying degrees, either for practical reasons-such as shooting in one place and making it look like another, to save on budget-or to go above and beyond the realms of possibility, to delight and amaze its audience.Īfter all, with films looking more complex than ever-bolstered by breathtaking entire CG environments and characters such as Paddington, Transformers, Detective Pikachu and so on-audiences have come to expect more with every new blockbuster release. Technological advancement in visual effects (vfx) capabilities means that directors and cinematographers have an ever-increasing arsenal of filmmaking techniques at their fingertips.
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