[ SECRET POST #5678 ]

[case]

⌈ Secret Post #5678 ⌋

Warning: Some secrets are NOT worksafe and may contain SPOILERS.


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Notes:

Secrets Left to Post: 02 pages, 38 secrets from Secret Submission Post #813.
Secrets Not Posted: [ 0 - broken links ], [ 0 - not!secrets ], [ 0 - not!fandom ], [ 0 - too big ], [ 0 - repeat ].
Current Secret Submissions Post: here.
Suggestions, comments, and concerns should go here.

Comments

[(Anonymous)]

Well, but I don't think that's unrelated to CGI vs practical effects, though.

With practical effects, any good filmmaker is concretely aware of the problems with their effects. They know how much good effects cost and they know that ultimately there's only so much that practical effects can do, and so they have to shoot around the limitations of the effect. There's a basic sense that the staging and direction of the effect, and its use in the movie, is as important as the effect itself.

With CGI, there's a huge temptation to just assume that none of that stuff matters because CGI can just solve everything. Even otherwise very good filmmakers seem to run into this problem. CGI is such a powerful tool that filmmakers overrate its actual effectiveness. They don't think so much about how to use it, they just solve problems by throwing more CGI at it.

[(Anonymous)]

A bad animatronic just looks like a clunky effect, but bad CGI can plunge you straight into the uncanny valley. It is easier to look past the former than the latter.

[feotakahari]

Spielberg credited his editor on that front. He fell prey to the sunk cost fallacy, wanting to use more shark footage because it took so much time and effort to get the prop to cooperate. She was the one who told him when the footage sucked and he needed to take it out.

(The Cutting Edge: The Magic of Movie Editing is a really fun documentary.)