Vincent Frei’s Post

Before and After the VFX of 'Naples - New York'. Director Gabriele Salvatores was completely confident in the use of VFX to complete the shots to give them the right narrative tone and fit the storytelling style, telling the story together, using VFX in a creative way. It breaks my heart when certain filmmakers claim their films contain no VFX (specially when it isn't true!), as if the use of VFX diminished the artistic value of their project. The quality of visual effects is rarely defined by artistry alone—it’s shaped by budget and schedule constraints. Yet, only "bad" VFX are noticeable. When done right, VFX blend seamlessly into the narrative, enhancing the story without drawing attention to themselves. Great VFX aren’t about flashy spectacle; they’re about serving the story, staying invisible, and immersing the audience. The real artistry lies in making the impossible look natural while working within the real-world limits of time and resources. When budget and creativity align, VFX become a silent partner in storytelling, elevating films to new heights. I can put several examples of bad movies with great VFX, but I can't think of as many great movies with bad VFX. When a movie fails, maybe it isn't a problem of the VFX. In the hands of the right filmmakers, it becomes a powerful storytelling tool. For instance, Spielberg or Fincher; you won't hear them whining about how VFX are bad for movies. It makes no sense. It isn't the tool's fault. #vfx #visualeffects #cgi #cg #compositing #comp #victorperez #film #movie #beforeandafter #behindthescenes #fellini

Explore the world of VFX with Alessandro Ongaro, the VFX Supervisor for the epic titan battles in Godzilla vs. Kong: The New Empire! Discover the techniques and visual effects that brought every roaring moment to life on screen, including visualization work by The Third Floor: "Big kudos to Jeremy Munro and The Third Floor, who handled all the visualization required for the film, delivering a blueprint to our vendors that took most of the guesswork out of the picture." "Another critical aspect of the film was dealing with the scale of the Monsters. Early in prep, we agreed to use the different senses of scale based on the situation so that when we’re just with the Monsters, we treat them like they were human-sized creatures rather than 350/400ft tall. This dramatically helped design and choreograph the fight scenes, arguably the film’s most complex aspect from a design perspective. This is also made possible by the excellent work Jeremy Munro and the team at The Third Floor brought to the project during the 15-month period they worked on the film." Check out the full story here: https://lnkd.in/ePJnd6tf

these are the visual effects I want to work with.

Are you excited about FMX - Film & Media Exchange next week? To celebrate here’s my talk from last’s year FMX with Foundry. In this workshop, I talk about my VFX Supervisor's review workflow. I try to give valuable insights and strategies to optimise your review process. Whether you're a VFX professional or a newcomer to the industry, this workshop will cover topics like preparing for internal team reviews to handling external client reviews with confidence. I also share some essential tips and tricks to streamline your workflow with Nuke Studio with live-action and CG. No matter the size of your facility, you'll discover tips for optimizing your pipelines and making the most of your resources. Enjoy this presentation and don’t forget to subscribe to the channel, it’s free: https://lnkd.in/eAgAMMdd And don't forget, there are some amazing Foundry talks at FMX this year. More info below: https://lnkd.in/emxbhCJe Here are some of the chapters available in the video: 02:16 - short bio 07:15 - moved to Sweden 08:42 - moved to London 08:59 - my time at The Mill 09:36 - the first Nuke Client suite 11:39 - Elden Ring and my first Platinum 12:58 - left the Mill and started working remotely 14:25 - my pipeline 16:01 - my 27-sec reel 17:02 - project setups 19:12 - naming each shot 20:10 - finding extra plates 20:56 - building a folder structure 21:37 - rendering all the plates 22:21 - organizing all the plates 22:53 - editorial pipeline 24:07 - talking to your client 24:41 - reviewing with the team 28:16 - reviewing with the client 31:24 - ftrack 32:07 - use a good webcam 35:37 - client reviews with keynotes

How to Train Your Dragon live action first looks...

Press > Stags Interview in TVBEurope How do you create a photoreal CG gorilla that feels as alive and emotionally resonant as the real thing? UNIT’s VFX team brought their expertise to Paramount's drama Stags, delivering a seamless blend of creativity and technology to craft a lifelike character that steals the screen. VFX Supervisor Nuno Pereira tells TVBEurope how the UNIT team delivered over 300 VFX shots across three episodes during the 17-week project: “Our team focused on achieving a photoreal and naturalistic look for El Nino, which involved incredibly detailed animation and accurate lighting,” he continues. “We aimed to ensure the creature felt integral to the story, blending seamlessly with the live-action elements and enhancing the overall tension and drama of the series. As we started to develop this asset, and we were having rounds of feedback and dailies with the client, everyone realised that with so much work put into this asset to only have four shots, it would be a waste not to do more. So the shots and sequences, which included the CG version of the gorilla, quickly grew in number, scope, and ambition.” Read the full article by clicking the link https://lnkd.in/eAVnFuDR!
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#VFX #CGI #FilmProduction #CreativeTechnology #UNITVFX

CGI vs VFX vs SFX: Understanding the Differences in Film Effects #Entertainment#Guide

Are you excited about FMX - Film & Media Exchange next week? To celebrate here’s my talk from last’s year FMX with Foundry. In this workshop, I talk about my VFX Supervisor's review workflow. I try to give valuable insights and strategies to optimise your review process. Whether you're a VFX professional or a newcomer to the industry, this workshop will cover topics like preparing for internal team reviews to handling external client reviews with confidence. I also share some essential tips and tricks to streamline your workflow with Nuke Studio with live-action and CG. No matter the size of your facility, you'll discover tips for optimizing your pipelines and making the most of your resources. Enjoy this presentation and don’t forget to subscribe to the channel, it’s free: https://lnkd.in/ekJcR_9v And don't forget, there are some amazing Foundry talks at FMX this year. More info below: https://lnkd.in/euQfgP3M Here are some of the chapters available in the video: 02:16 - short bio 07:15 - moved to Sweden 08:42 - moved to London 08:59 - my time at The Mill 09:36 - the first Nuke Client suite 11:39 - Elden Ring and my first Platinum 12:58 - left the Mill and started working remotely 14:25 - my pipeline 16:01 - my 27-sec reel 17:02 - project setups 19:12 - naming each shot 20:10 - finding extra plates 20:56 - building a folder structure 21:37 - rendering all the plates 22:21 - organizing all the plates 22:53 - editorial pipeline 24:07 - talking to your client 24:41 - reviewing with the team 28:16 - reviewing with the client 31:24 - ftrack 32:07 - use a good webcam 35:37 - client reviews with keynotes

This will be a bit of rant of what VFX sup is supposed to do, what is VFX sup's real job. Yesterday I had a chance to share a stage with great crew that made a film that won #Palme D'Or on #Cannes film festival. We had screening and great people from Croatian audiovisual center presented to each of us with a smal replica of Palm D'Or. It was realy nice gesture. Because film is a team work. I worked on that film as VFX supervisor. And it ended up having almost no VFX at all. So question is: why I'm so proud of working as a VFX sup on film having almost no VFX? In my opininion my job, as VFX sup is not to push as much work as possible into VFX studio. My job is to help director tell his story in best way possible while keeping production on budget. In this film, in beginning, we were supposed to do whole lot of environments. Actually almost all environments were supposed to be made with CGI. But we knew that it will be almost impossible to do all of it on time and on budget with quality that it requires. So I spoke with director and we looked at what we REALLY need to show and realized that with slight change to micro location and few tweaks of camera positions and bit fogging of windows we could get almost all environments needed in cammera. And get decent time and money for few shots that realy needed VFX work. That, in my opinion, is real job of VFX sup. To work in a team. To underestand what is emotion and vision that director wants to show. And help team to produce the best possible film with given constraints. And that is why I'm so proud to be a VFX sup on film that had almost no VFX at the end. Thank you #antitalent, Nebojša Sljepčević and #Poster for giving me this oportunity. #VFX #VFXsupervisor #Cannes