How They Make Huge VFX Monsters
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- čas přidán 16. 07. 2024
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Vfx Artists are underrated😢
I want to learn vfx but i cant even make a character for video games lol, i fucking suck.
@@stormk-1130 yeah same
@@stormk-1130 good news, you dont need to know how to model to be vfx, its more like technical skill than artistic skill to be vfx. if u have a good portfolio showing your vfx skills u could get hired by big companies.
@@Immortal_BP it may a stupid question but how I contact them? Do they even notice a small artist?
No They Are Not!
King Kong CGI: 19ZILLIN HAIRZ!!
Action Scenes: I'm just going out to get some milk
It's incredible the level of appreciation I've gained knowing the complexity of making assets, editing, and keeping up with your leadership's ideas through the production process. I've never even done the work as I am a student of animation but just knowing the man hours it took to make this film makes me want to watch it. I don't even care about Kong himself, I'm there for the artwork. The character connection can come after I've seen it.
You won't regret it, I promise.
As someone who’s been 3d modeling and animating for around a year now, it’s genuinely so impressive to me how these people are capable of doing this.
Thank you for sharing this VFX Monsters 👍
I *_loved_* Peter Jackson's work, but this movie was jaw-droppingly real.
10 millions doesn't seem much, Blender can handle that no problems, ZBrush can handle more than 200 millions polygons, and 5 millions for a model isn't even that much for a game asset nowadays, so maybe a double check on these numbers is needed here! 🤔
Other than that, great video! 🤙
Yeah. Game characters are more detailed than ever.
@@travisrassel9978 i dont know why companys are doing that tho.
People play games to escape reality.
The best selling games of all times are minecraft, gta 5 and tetris.
Those games have just simple graphics.
This was March 2017 though. A bit over 6 years ago. There have been a few improvements in tech since then. (:
@@pineapplepizzasandwich1974 Still, even in 2017, ZBrush could handle over a hundred of millions of polygons no problem, Lana Lan, an ILM supervisor, says on a video that she believes that the model had half a million polygons, all of this is actually a rehash of an ILM behind the scene video!
@@pineapplepizzasandwich1974 I just checked, the Einard character from the Blender Charged movie is 225 000 quads, so 500 000 for a mega movie main character still seems a bit low!
However, Peter Jackson had more creatures in the movie, and it was cooler. the island really seemed like a living prison, unsuitable for people. and in 2017, for some reason, everything seems too empty.
They wasted too much time on King Kong it doesn’t take all this too make King Kong I think everyone on this VFX team are extreme over thinkers mainly the director
If I fill 1M hair any object in blender my pc will converted into hair dryer and destroyed😂😂
Awesome!
Awesome 👍👍
Respect for kong after this video 😂 📈
I want the ILM King Kong model just to open it up in Blender and see my computer explode.
Can't believe they actually went to skull island to film this movie.
Kong is described as a prehistoric primate not just a giant Silverback gorilla he's like a giant half human half ape hybrid monster like in the 76 version I like that version better its brings a more terrifyingly presence
Thanks
Damn, now I want to watch it for the fourth time ... haha
Loved this movie even more when it came out in cinemas watched it on Imax 3D glasses moving chair and all amazing experience felt like i was part of the movie
And Avatar team be like : We don't have good technology. Let's wait for 10 years. 😂
I'm curious what's the PC specs and what 3d design software they are using ?
the 3d software for sculpting the kong is Zbrush .
Do you really think there's only one machine rendering all of this? lool
Threadrippers and quad GPUs.
Z-brush for sculpting, Maya for retopo, hair and animation, Mari for Texture Houdini for Sims, Renderman for render and nuke for composition.... For specs studios use render farm not only for render but for working too, one system is connected with several CPUs for maximum performance and less crashes
0:02
Also, that's Impressive.
Directors are like kids with very expensive toys nowadays. It really pains me how easily they throw away shots that dozens of highly skilled artists work days and nights to create sometimes. CGI industry needs their unions yesterday.
This creeped into my ear also. And all this expensive location recreation... Who cares? It's a diverse magical island. It's not like they were creating Apocalypse Now.
Toby Kebbell was also 'Koba' in the Matt Reeves ape movies...
Bro in thumbnail 19 million hair and in video 90 million which one is actually true
Is there a general "cap" for polys? I know you try to get them as low as possible, but it's crazy to think Kong had half a million! What do you think the cut off point is, at its most extreme?
VFX for movies have different standards than games do. Games have to watch their polycount cause the models have to be rendered in real-time. Movie models are rendered out frame by frame in the studio’s render farm and can therefore have much more detail.
There is technically no known limit aside from wasting money beyond a certain point. At some point there is no point for more detail. Anything beyond would just be rendering stuff we cant even see.
There's not really a cap for polygons in VFX in the same way there is for games. That said, games are able to hit pretty high polycounts these days too.
"Make it as low as possible" is not really the full idea behind topology, instead think of it like "Make it as low as possible WHILE keeping all the shapes I need". Sometimes polygons are added to make deformation and rigging easier, sometimes they are added for simulation.
As long as the animators can get realtime feedback on their work, the polycount is mostly irreverent, since the actual number of polygons rendered is much much higher (Subdivisions applied at render are still polygons, you just don't interact with them the same way).
If you must get a number, its not uncommon to have assets with 100s of millions of polygons at rendertime, with scenes consisting of billions when needed.
I hope this helps, but feel free to ask other questions :)
Half a million doesn't seem like much at all. The car in the recent unreal 5.2 Demo had 5.5 million and that was running in Realtime.
Just a few years distance means computers and consoles can handle way more than what was cutting edge before…
meanwhile my pc is overhere about to explode just rendering 5k hairs
Make a video on how they make huge CG environments for movies.
Wow nine video good
The Mocap retarget in Nobu looked terrible
Need to know computer information to render?
What specs you think this guys used to make this vfx ? threadripper? 4 gpus?
🤕🤕🤕
More of a quantum mainframe PC with RTX 7070(that doesn't exist but hey lol)
either way.. My 4gb ram laptop and the low poly 3d I can do be crying seeing they system.
(wonderful english)
@@apophisca2163 lol you can use lot of gpus but you need lot Of money
@@earthmatters2869 which i unfortunately dont have XD.
Thats cool but can they run Crysis?
If a sky texture fried my pc i dont want to know what this will do to it ..
How to get 1month sill share membership
You can make a 100 billion hairs if you want. It will never look as good as the old practical effects from the 80s.
You can hit 350 million polygons and in Zbrush and you'll still be fine. Granted that I have A TR 3960x and 3080 mileage may vary.
This movie was still not any better than 2005 one
the 2005 one has its flaws but it is way, way better than all other kong´s that came after ... And also the Kong character was way more believable in so many ways. Kong´s performance here and especially in the latest one gets closer and closer to a man in a suit in every iteration...
We really don’t have to talk about why they did it. Just get to the point is totally fine.
considering hollywood budgets Kong (before retopo) was more likely in the billions of polygons
I take it that the 10 million polys you mention is a retopoed model used directly for animation in the scenes .. because for a static base model 10M polys is NOTHING.
I can do a 10M model on my 400$ android tablet.
even for my simple mode i go to 40 mil before retopo…….😂 10 mil is nothing
Yeah. The car in the recent unreal 5.2 Demo alone had 5.5 million and it was running in Realtime.
with unreal it can render in a minute :)
Their cpu cost 1 million Dollars so it's possible 🙂🙂
Bro can v render animation in blender using gaming laptop acer nitro rtx 3060 ryzen 7
Yes brother because i have i3 10100 and gtx 1660 super 8gb ram 512ssd i can render but my pc took little more time but it renders
I want to learn vfx please guide me
pov how i plan my school projects knowing damn well its gonna be shit
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Shit. That is a lot. I wonder how long it took to render....
Sounding as if each and every single hair has been desgined.. 😂😂
Who tf counted the hairs?
the 1933 version was best, as a kid that really scared me
150*. Not 50.
10 mil polys is nothing my Hercules character had over 100 million with all the meshes and with HD geometry u can go up to 1 billion but it only displays it in parts on the model and maps are extracted from it. Going into this I thought it was going to be a technical vid but instead it’s more a water down video.
why sleeping gorila while they have Mike Tyson alive
Blend Special effects with vfx it's not that hard,it was done in 90s
But then again who's counting?
Body tracking costume duh
2005 looks more realistic
They created very good monke and ruined it later by stupid 2-legs "lizards" as enemies. Because it killed suspension of disbelief, such unbelievable they were.
You mean Godzilla....lol
@@lewessays no, Godzilla is more real than King Kong. I mean abominations from 5:13
Suspension of disbelief? You do you realise that the movie that started this cinematic universe was about a giant radioactive lizard that can blast atomic fire from his mouth fighting Stealth bomber like monsters, right? The skull crawlers by comparison are more tamed even with only two arms, and yet, they killed your suspension of disbelief?
@@justanaveragedragon831very weird, innit?
@@justanaveragedragon831 yes! They failed very hard. Yes, giant radioactive lizard is more believable. Because people at least have a picture of T-Rexes in their collective memory and can relate to it.
How can i build king kong with millions of hair particles for Vr headsets? Blender will do it in the near Future 😊
I didn't knew it was so hard to create Kondo san
Too bad the stories are worse and worse. as the VFX gets better and better. No amount of VFX can replace good stories and characters.
Go read books then
@@flynntaggart7216 Its the same problem, more or less. Woke, best selling, weekend blog posts with covers for purposes of self promotion suffer from the same decline in the standards of civilization, hence characters and storytelling suffers. Music and art is not much better either. Architecture too.
One temporary solution is to go back in history and enjoy high standards that were normal in the past. But its a shame that with all the technology of modern era we have such crappy standards.
@@KrunoslavStifter the woke stuff is political stuff right?
Godzilla is one of the only characters to have the reverse going on with the political message being less important for the story than at the start of the franchise.
@@rexyjp1237 "the woke stuff is political stuff right?" Well, yes, it is political, but its driven by religious instincts. The method is change the culture, capture political sphere. What they call long march through the institutions, politics is downstream culture etc. However you want to see it, woke religion is the official religion of America, promoted by all the captured institutions, from Hollywood apparatus, to education, health, law, even army institutions.
“Woke religion” is not an official religious term or belief system. It is a colloquial expression that refers to the adoption or integration of progressive and socially-conscious views, values, and ideas into religious beliefs and practices. This can include advocating for social justice, racial equality, gender equality, LGBTQ+ rights, environmental sustainability, and other progressive causes. Woke religion may involve reinterpreting traditional religious teachings in a way that aligns with these values, or it may involve religious communities actively advocating for social change.
“The cultural situation in America today (and indeed in all Western societies) is determined by the cultural earthquake of the nineteen-sixties, the consequences of which are very much in evidence. What began as a counter-culture only some thirty years ago has achieved dominance in elite culture and, from the bastions of the latter (in the educational system, the media, the higher reaches of the law, and key positions within government bureaucracy), has penetrated both popular culture and the corporate world. It is characterized by an amalgam of both sentiments and beliefs that cannot be easily catalogued, though terms like 'progressive,' 'emancipators or 'liberationist' serve to describe it. Intellectually, this new culture is legitimated by a number of loosely connected ideologies- leftover Marxism, feminism and other sexual identity doctrines, racial and ethnic separatism, various brands of therapeutic gospels and of environmentalism. An underlying theme is antagonism toward Western culture in general and American culture in particular. A prevailing spirit is one of intolerance and a grim orthodoxy, precisely caught in the phrase "political correctness.” ― Peter L. Berger
The history of political correctness is more complex, first emerging in Communist terminology as a policy concept denoting the orthodox party line of Chinese Communism as enunciated by Mao Tse-Tung in the 1930s. This we may call the hard political or literal sense. It was then borrowed by the American New Left in the 1960s, but with a more rhetorical than strictly programmatic sense, before becoming adopted and current in Britain. It is essentially a modern coinage by a minority, deriving from politically correct, dating from about 1970.
“Fascism” has followed the same semantic pattern, being transformed from its strict Italian political origins to its broader sense of dictatorship and conformity. Roger Scruton has a notable essay on the topic in Untimely Tracts (1987). Today both “Puritan” and “Fascist” are, of course, highly critical terms. Paul Johnson defined political correctness as “liberal fascism” (cited in Kramer and Kimball, 1995, p. xii).
As political correctness has become more fashionable, so it has become less clearly defined, as is typical with such phrases when their currency broadens. It now covers a whole range of individual, social, cultural, and political issues, and topics as diverse as fatness, appearance, stupidity, diet, crime, prostitution, race, homosexuality, disability, animal rights, the environment, and still others. It has taken on the characteristics of a buzzword, becoming a fashionable phrase without a clear meaning, but one which nevertheless invokes certain clear responses, hostile or positive, depending on context. It is a semantic sign of orthodoxy with not one, but several party lines.
Obviously, not all of these listed issues are of equal social importance, especially in terms of values and morality. Yet often they are accorded similar weight and seriousness. Indeed “diversity,” one of the new key terms in the vocabulary, is stretched to accommodate this range of social problems and agendas.
From its first manifestations in America, political correctness has had a double agenda, being a combination of freedom and constraint. The “political” aspect involved opening up new cultural horizons, but “correctness” brought conformity in accepting new agendas, new limits on freedom of expression, and a general avoidance of certain controversial topics.
One feature of political correctness has been the replacement of cultural élitism by relativism. This is not entirely a bad thing. The days are certainly over when writers could describe themselves, as T. S. Eliot famously did, as “classicist in literature, royalist in politics, Anglo-Catholic in religion.” Yet Eliot’s damning comment on “the indomitable spirit of mediocrity” (from his 1949 play The Cocktail Party, Act I, scene ii) surely applies to much modern culture.
As early as 1936, incidentally, George Orwell first referred scathingly to a ‘Mickey Mouse universe’. Today we experience the “Disneyfication” of everything. Moreover, Roger Scruton has recently identified what he calls “absolutist relativism,” pointing out the “deeply paradoxical nature of the new relativism. While holding that all cultures are equal and judgment between them absurd, the new culture . . . is in the business of persuading us that Western culture, and the traditional curriculum are racist, ethnocentric, patriarchal, and therefore beyond the pale of political acceptability” (Scruton, 2007, p. 84).
Hence, every narrative in movies coming out of Hollywood must conform to a larger politically correct narrative of what we might call woke religion, resulting in really bad products that only care about being politically, meaning religiously, correct. Diversity and inclusion quotas, resulting in lame people getting roles that are based on skin color or political affiliation, not merit. Only white men can be villains; no black men. Women must replace men as action heroes, and all men must be some kind of lame, stooge-like, sidekicks to Mary Sue type characters. A Mary Sue is a character archetype in fiction, usually a young woman, who is often portrayed as inexplicably competent across all domains, gifted with unique talents or powers, liked or respected by most other characters, unrealistically free of weaknesses, extremely attractive, innately virtuous,.
Also endless sequels, reboots, etc. They are serving on one end as vehicles to push "the message," and on the other, they rely on nostalgia to push a message no one would otherwise buy into. It also serves as a way to destroy all that came before it, and like a dog in a new yard, warriors have to piss over everything before them to make it seem conquered.
In short, America in current era, might be more and more Godless, but its far from irreligious. And just last week or so we have seen trans shooters killing Christian children and White House promoting and protecting and covering up for trans shooters, because that is the new religion. Hollywood is just a tool to spread it far and wide, weather you like it or not. Quality of character writing, direction,VFX etc is secondary. VFX is not great but its least effected since advancements in technology are so great in other eras and there is so much money put into these movies. But they alone, cannot replace everything else.
@@KrunoslavStifter Mickey mouse is black in colour, haven't you ever played Skyrim?
Not huge. That is just perspective and 3d camera technique.
all this hard work then a lame teenager addicted to fortnite will watch this movie and say "na so boring"
I wish Zbrush did simulations. I feel like it would handle them like it's nothing.
Zbrush is cheating a little bit with depicting all the polygons. It makes no sense at all for zbrush to do simulations, as it would be probably worse, than other software. They would have to change the core of Zbrush for that.
@@samuelmoser oh, I thought since it already does cloth simulations(sort of) it would easily take on other sims
@@M_k-zi3tn I am not the best programmer but I think it would be really hard.
2005 King Kong still looks better..
If you screenshot cgi, it looks awesome but the movement still looks really fake.
this is what i dont understand about blender and cgi: you cant do cloth sim with to many polies, so where do´you draw the line?`do you make physics when every other mesh optimized? i mean if you need a jacket with physics, but you havent finished the breast plate below. its impossible. it just takes to long to simulate
видно что мех не шевелится а всё что не динамическое то на плейнах так шо давай досвидания
миллион способов сделать сраные волосы
All that for the worst King Kong movie...
Stop talking like that…
Someone had to say it
The CGI is exellent BUT.... the movie is terrible, with a terrible script, terrible acting, a bad concept... and so... even if the CGI is great, the movie is still BAD and did not enhanced the experience at all.
AAANNNDDD......... it all went downhill from here. Seriously tho, 2014's "GODZILLA" and 2017's "KONG: SKULL ISLAND" has the Best-looking VFX and CGI, especially compared to the Stupidly Overrated Future Installments from 2019 and 2021 (and I got a feeling that the Upcoming 2024 Sequel will be no Exception). Like, think about it:
in 2014's "GODZILLA", Godzilla and the MUTOs felt like an Actual Realistic Creatures because their Movements fits their Size and Weight. the Movie actually Managed to make them Feel like an Actual Giant-Monsters in a Hollywood Movie. all the Destruction the MUTOs causes, the Impact that Godzilla has on the Water whenever he swims, all the Fog that been created whenever a Building gets Destroyed... NOW THAT'S WHAT I CALL A HOLLYWOODIC QUALITY.
Hell, even 2017's "KONG: SKULL ISLAND", as much of a Disappointing Mediocre Product as it is, at least it is Still incredible to look at. King Kong still got an Impact on the Mountains whenever he lands on Them, the Impact that he got on the Water when he hunted those Squids, the Final Battle, the Way how Ramarak walks through the Jungle in search of the Human Characters... it is still Incredible-looking. sure, unlike 2014's "GODZILLA", the CGI of 2017's "KONG: SKULL ISLAND" has it's own Hiccups here and there, but for most of the Time it is still Phenomenal.
But then you get to a Massively Overrated Big Pile of Shit like 2019's "GODZILLA: KING OF THE MONSTERS", where they threw all the Realistic-looking CGI out of the Window in order to make the Giant-Monsters look more "Accurate" to the Japanese Movies, where they felt less like Hollywood CGI Monsters and more like Man in Rubber-Suits. the CGI of 2019's "GODZILLA: KING OF THE MONSTERS" looks so Incompetent because the Monsters are moving too Fast when in some Point it looks less like CGI and more like Suitmation. seriously, it looks like Michael Dougherty made the Giant-Monsters to move so Fast on purpose in order to Reference in a very Fan Service-y way the Terrible Overpraised Suitmation of the Japanese Movies. and I know that Many Godzilla Fans are like "sUiTmAtIoN iS fAr MoRe ReSpEcTfUl, TrAdItIoNaL aNd HoNoRaBlE tO tHe SoUrCe-MaTeRiAl MoViEs Of JaPaN"... Guys, just because the Live-Action adaptation is More Traditional and Accurate to the Source Material doesn't means it's Good. In fact, it Makes the Whole Thing even Worse!!! mainly because the Suitmation is Horrible because it is so Goofy and Inept!!! and Thankfully, the Incompetent CGI of 2019's "GODZILLA: KING OF THE MONSTERS" Factually proves that in any Way that exists.
Now, I heard in some Podcast-Video in CZcams that Adam Wingard himself revealed that the CGI of 2021's "GODZILLA vs KONG" would improve on the Incompetent CGI of 2019's "GODZILLA: KING OF THE MONSTERS", being more "akin" to the Well-crafted CGI of 2014's "GODZILLA" and even to the Underrated CGI of 2017's "KONG: SKULL ISLAND"! BUT NO. instead, we got an Inept CGI that looks even Worse than what we Previously got in 2019: the Giant-Monsters moving even Faster (look at the Colorful Battle between King Kong and Godzilla in Hong Kong), sometimes the Giant-Monsters seems to be more Smaller than what they Are (For Example, when they Taking King Kong off of Skull Island and there's a Huge Shot of him sitting on the Boat, King Kong is said to be 102 Meters tall in this Movie yet in this Very Shot King Kong still seems to be 31 Meters Tall just like in 1973 - THAT'S AIN'T GOOD FILMMAKING, FOLKS)... hell, the CGI looks even Unfinished in some Places, like during the Colorful battle between King Kong and Godzilla we can see in some Point that King Kong's Arm easily going through a Building without any Impact at all like it's no Material at all. so yeah, maybe Adam Wingard said that the CGI of 2021's "GODZILLA vs KONG" would've improve on the Incompetent CGI of 2019's "GODZILLA: KING OF THE MONSTERS", be more "akin" to the Well-crafted CGI of 2014's "GODZILLA" and even to the Underrated CGI of 2017's "KONG: SKULL ISLAND", but instead we got an Ugly-looking CGI that looks even more Stupidly Incompetent than the Incompetent CGI of 2019's "GODZILLA: KING OF THE MONSTERS".
and Man... I cannot even Imagine how Terrible would be the CGI of the Upcoming 2024 Sequel. I'm honestly afraid that they would Bring back the Suitmation from the Japanese movies to this Film for the Sake of Fan Service for Toxic Fans.
really? I thought I was the only one who was annoyed by the discrepancy between the movement of monsters and the physics around them with their size and mass. and even despite this, there is no illusion of reality, unlike the same Godzilla of 1998, and Kong 2005, where they really worked on the physics of monsters in great detail
I've always wondered where king kong goes to poop. and why doesn't he have a penis?
honestly no one cares
Why did you click on the video? Also there are a ton of people interested in this. The corridor crews Videos breaking down vfx all get millions of views each.
@@gavinderulo12 no one cares about a gorilla with millions of RTX 4090Ti MAX settings 240 pfs cgi hairs. if Hollywood kept using practical affects in movies with solid stories and good characters with 0 lgbt+ propaganda people would appreciate the industry more, everything now is low effort cheap lazy cgi, even walls in rooms are cgi. no one cares about the Rock with his fake muscles and his fake ape friend.
Too bad the character design is still ugly
No, that is not the case. They just use texture mapping that simulates hair.