![]() ![]() Miranda has a high bar to clear: the cantina scene in the first Star Wars film is a favorite of mine partly because of the peppy cosmic tunes that fill the dimly lit bar (not to mention the creatures playing the music, with their phallic heads, bug eyes, and Beat-style black outfits). Abrams with some music for a cantina scene. Lin-Manuel Miranda, creator of the hit Broadway musical Hamilton (which comes to Chicago next fall), supplied Force Awakens director J.J. The music world isn’t immune to Star Wars fever. After eating the whole box, I can confirm that the marshmallow lightsabers do not taste like lightsabers. I blame my recent purchase of Star Wars cereal on a sense of journalistic duty-I had to know if it was real. The omnipresence of Star Wars: The Force Awakens already rivals that of Christmas paraphernalia-it feels like it’s everywhere, even in the cereal aisle of the grocery store. The seventh chapter of the Star Wars saga hits theaters next week, more than a generation after the original trilogy wrapped up. Now Playing: Chicago’s history in movie adsĪs Chicago combats a mounting heap of problems-if somehow you’re unaware of them, just read the rest of our blog-many eyes are glued to a war that raged a long time ago in a galaxy.For all the freedom that CGI allows, the end-result often feels as if it exists on a separate plane from the actors involved, which robs the intended outcome of the effect of a certain degree of authenticity in the audience’s eyes. That tangibility plays an important role in selling the overall effect. And from an actor’s standpoint, the ability to act against a physical creation as opposed to a tennis ball or a green screen often leads to a more organic performance. However, this all comes at the expense of the real-world tangibility and weight of practical effects. ![]() Also, as it’s done in post-production, CGI doesn’t require multiple takes and considerable set-up time. The explosion of superhero films over the past two decades have greatly benefited from these examples. Furthermore, it enables world-building without the cost of constructing expensive sets. While generally more expensive than practical effects, CGI allows filmmakers more freedom of movement in terms of camera placement when shooting a rendered creation. Legendary, Academy Award-winning effects artist Rick Baker, the man behind the groundbreaking werewolf effects in American Werewolf in London, was even brought on board. The film was supposed to “reinvent the werewolf genre” according to Dimension Films co-founder Bob Weinstein. Wes Craven’s 2005 film Cursed was one of the more egregious examples of this practice, as outlined by Screen Rant. Sometimes studios even went as far as overriding filmmakers who had touted the use of practical effects in their upcoming projects. Rather than taking cues from films like Terminator 2 and Jurassic Park and a few other films that had seamlessly blended the two mediums, studios went all-in on CGI, and often with questionable results. Coincidentally, both aforementioned creations were accomplished through a marriage of practical effects and CGI.įrom the mid-90s through to the early-2000s, CGI became the preferred visual effects medium from a studio standpoint. ![]() Although first used in the 1973 film Westworld, it wasn’t until the appearance of the infamous, liquid metal T-1000 in James Cameron’s Terminator 2, and the life-like dinosaurs in Steven Spielberg’s Jurassic Park, in 19, respectively, that the industry fully embraced CGI as a viable alternative to practical effects.
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