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Indiana Jones and the Defense of 450 CG Effects Shots

Christopher Campbell
By Christopher Campbell posted 1 year ago
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I’ve come to a funny realization: My constant complaints against CGI are somewhat akin to complaints against blogging. Yet, while I admit that my writing isn’t quite the same as print journalism and film criticism of the past, I also don’t cost a ridiculous amount of money relative to the cost of modern special effects.

Anyway, I don’t need to defend or justify my existence as compared to the way things used to be, yet it’s certainly necessary for the people at ILM to defend their use of CG rather than old-fashioned matte paintings and models for Indiana Jones and the Kingdom of the Crystal Skull. Especially considering how many reviews, both positive and negative, harp on the fact that Indy’s world doesn’t look like it used to.

So, perhaps in anticipation of all the nostalgic moviegoers who leave the theater this weekend wondering why all the locations and creatures looked so bad, the Associated Press has a story on the making of the latest Indy installment, complete with plenty of prematurely defensive quotes from visual effects supervisor Pablo Helman:

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CG: Death to Imagination

Christopher Campbell
By Christopher Campbell posted 1 year ago
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When I saw the title of Olly Richardson’s rant on The Empire Blog asking if CG has killed our imaginations, I presumed he meant filmmakers’ imaginations and how special effects are less creative when done with the ease of computer graphics. But no, he’s really talking about our imaginations, meaning me and you and everyone we know. I’d never given it too much thought, but maybe modern audiences are really losing their ability to believe at the movies:

We never used to be so picky. If somebody watches the original King Kong or any of the works of Ray Harryhausen, you will never hear them complain about how the skeletons were a bit jerky or that the big ape’s fur didn’t blow realistically when he was climbing the Empire State Building (if they do complain, however, you should feel free to shoot them on the grounds of wrongness and philistinism). You just watch the film, acknowledge that what you are seeing couldn’t possibly exist, admire the artistry it took to create it and choose to believe it anyway. That’s what suspension of disbelief is: ignoring the protests of your eyes and more logical parts of your brain in order to enjoy a good story.

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