"Longlegs" features Nicolas Cage in one of his most unsettling roles to date, serving as a perfect example of what makes a horror villain memorable. The kind that makes you uneasy, not because of what he does, but because of his mere presence. If you haven’t heard of it, "Longlegs" is one of the most anticipated horror movies of 2024, not only because it stars Nicolas Cage but also due to an incredible marketing campaign. The film, directed by Osgood Perkins, follows an FBI agent unraveling a series of clues to stop a serial killer known as Longlegs. It is beautifully shot; its cinematography is on point, as is the production design, pace, and soundtrack. But we’re here to talk about Longlegs, the character—the doll-making, intriguingly haunting villain. Without delving into spoilers, let's explore three techniques used by the director to ensure Cage's appearance in the movie is unforgettable. OBSCURED PRESENCE One of the film's most effective strategies was its marketing campaign. It didn’t reveal much, reminiscent of some internet horror mysteries or movies like " Skinamarink ", and maintained a very eerie vibe throughout. This approach felt fresh in an era where trailers often feel formulaic. Similarly, the way Cage's character was marketed enhanced the mystery and terror. Throughout the promotional campaign, Longlegs was not shown. We only knew it was portrayed by Cage, thanks to the credits, or we could hear him. Even in the final trailer, we couldn’t clearly see what he looked like. But one thing was certain: it instantly made you uncomfortable . This technique carried over into the film, where Cage’s presence throughout the beginning of the movie is obscured, keeping viewers on edge… until we can finally clearly see him and wonder: what is that? Why? How? All while appreciating his performance. We must say, we were not disappointed. And that, for us, was the most difficult thing to achieve: to live up to the expectations you’ve built up for a character or movie. “What you don't see is generally scarier than what you do see”, Steven Spielberg on Filming Jaws. Avoiding showing your antagonist, monster or villain is a very successful technique, used in many many creature features, such as "Alien", "Jaws" and even "Jurassic Park". It’s also commonly used in investigation thriller movies, which "Longlegs" initially pretends and markets to be (and don’t get us wrong, we liked the movie, but it quickly strays away from that genre. Expecting an investigation, we felt a tiny bit let down, but that’s for another article). For example, in "Se7en", you only get bits and glimpses of the killer, but you never know what he looks like until the very end. What you know is what he can  do, making him a monster in the viewer's mind . The same happened when the antagonist of "8MM" (also with Nicolas Cage) was revealed. In those movies, they created a monster in your head, only to reveal someone, well... “normal”. Which is very true to real life—a neighbor-next-door, John Gacy-esque kind of vibe. However, in Longlegs' case, he's anything but normal. He’s weird, strange and uncomfortable, making people long to see the movie. THE UNCANNY APPEARANCE Cage’s physical transformation for the role is a masterclass in utilizing the uncanny valley to evoke fear . Instead of relying on tropey elements for villains, such as facial scars, the creators went in another direction: plastic surgery—extensive, botched plastic surgery. Today, this feels particularly frightening. With the rise of the "Instagram-face" and celebrities looking drastically different from their younger selves, plastic surgery has reached new levels (if you don’t know what I mean, here’s a viral video on TikTok ). For Longlegs, it only added depth to the character. And that’s where it was successful, because villains often symbolize deeper societal fears , and Longlegs is no different. His altered face and bizarre behavior could represent anxieties about identity and the lengths to which people go to physically change themselves to make someone else like them. “He’s gone through all these plastic surgery botch jobs to make himself look as pretty as he can for [spoiler]”, says special effects makeup artist Harlow MacFarlane. Additionally, Cage’s character wears a white, pale makeup with kind of soft strawberry lips, giving him this ghostly near-to-death appearance (is he even alive?). The character is also dressed entirely in white, which is interesting because this shade is normally attributed to purity and sanctity— it's an eminently positive color . This creates a nice juxtaposition, making his presence all the more unsettling. EERIE BEHAVIOR AND SPEECH A villain's behavior and speech can often be more horrifying than their actions. In "Longlegs", these elements play a crucial role in creating the character. As with any other Cage movie, you go to see what he has to offer. Is it crazed Cage? Depressed Cage? But no, he’s something else entirely—something we have never seen him do before, and he does it beautifully (yes, we’ve liked him since the '90s!). It turns out this character is personal to Cage, as he drew from childhood memories of his mother, who lived with schizophrenia and severe depression, according to CBR. “She would talk in terms that were kind of poetry. I didn't know how else to describe it. I tried to put that in the Longlegs character because he's really a tragic entity,” said Cage. Cage also explained to Entertainment Weekly  that he sees Longlegs "as neither male nor female". He was influenced by the hermaphrodite character in Fellini's Juliet and the Spirits , emulating their "bizarre vocal shrieks and whatnot". With these inspirations, Cage created a character with mannerisms that are both erratic and deliberate, creating a sense of unpredictability. For us, he’s like a Willy Wonka from Hell (as if Wonka wasn’t scary enough already) mixed with The Joker, with his nice suit and almost whimsy appearance. In conclusion, Longlegs (the character) is a testament to the multifaceted nature of creating a scary villain. By combining an uncanny appearance, unsettling behavior and the strategic decision to obscure his presence, the character becomes a haunting figure that lingers in the minds of the audience long after the movie ends.

Whether it's for laughs, to prove that we're not yet (completely) outdated, or to integrate it into a workflow to produce a unique audiovisual piece, here are some advertisements made with the help of generative artificial intelligence (AI). But before we go on, what exactly is generative artificial intelligence? Well, it's "a branch of AI that aims to create models capable of generating original and realistic content, such as images, texts, music, videos, etc.", explains ChatGPT. Now that we've clarified that, let's get back to our examples: COCA-COLA - MASTERPIECE This is perhaps the most well-known advertisement to date that uses AI. With this ad, Coca-Cola made a big impact. It is ambitious and gives prominence to art, including special effects, while also incorporating AI into the process. The ad was produced by Electric Theatre . For the curious minds, here is the behind the scenes detailing the various steps required to reach the final product. SALESFORCE - ASK MORE OF AI Featuring actor Matthew McConaughey, The Mill employs generative AI to create a series of short but impactful ads. "The outcomes it [AI] produces are truly groundbreaking, presenting looks that have never been seen before. The Mill is excited to be on the forefront of the increasing utilization of AI in visual effects, as it opens new avenues for creative expression", they state on their website. HEINZ - A.I. KETCHUP The ketchup brand wasted no time. As soon as generative AI was introduced, they jumped on the opportunity to create an entertaining video, stating that even AI knows that the real Ketchup is Heinz. By generating a series of images with Dall-E, the brand shows that using just the one word "ketchup", the tool always displays a bottle with a sticker resembling the brand's. BECHERELLE - POSTERS Even though it's not a video, this advertisement deserves a spot on this list for its sheer ingenuity by the team behind the idea, Brain sonic . The concept is simple: given that AI uses prompts (texts that describe the desired image), one must know how to spell correctly. And what better than a Becherelle to avoid senseless images, albeit quite hilarious ones! © Brain Sonic FAKE CAR AD AI has a way of adding strangeness to our lives... So, to round off this list, here's one of the fake ads we have created with AI for a a brand new Van "Terra Guard 4x4", that will protect you from alien invasion and/or has enough space to take a ride with them. We had the idea, iterated some images with Midjourney, worked the script with Chat GPT, created the videos with Runway. The voice was made with ElevenLabs. It's potentially a fun way to create a previs for an outlandish idea. Would you like to have one? Contact us!

If you’re in the filmmaking or advertising industry, your social feed has probably been on fire over these three ads (you read that right. Not one... but three!):  Yes, Coca-Cola “remade” their iconic 1995 Christmas commercial—you know, the one with the red trucks and Santa—using generative AI. And it’s all everyone is talking about! According to LLLLITL , three AI studios collaborated on the ads, using most video generator tools we know of: Leonardo, Luma, Runway, Minimax, Kling and even Sora. Ad 1: " Unexpected Santa " - Studio: Wild Card Ad 2: "Secret Santa " - Studio: Secret Level Ad 3: " Silver Santa " - Studio: Silverside AI Now, Coca-Cola is a brand that is known for its innovative and strong marketing strategies (spending an average of $4 billion  annually on campaigns), but this time? Not everyone seems to be impressed. THE BACKLASH The response online has been harsh (or at least based on what my algorithm shows). Many say the ad feels off-putting and uninspired. It lacks the warmth and magic of the original, but does include some eerie visuals. It seems Coca-Cola’s attempt to inject "real" magic into their campaign has, ironically, stripped away all the real, instead highlighting the current limitations of generative AI. “These new AI-generated ads highlight the weaknesses and hard limitations of the current wave of video-generation models […] In short, it’s footage that isn’t too challenging for generative AI to produce”, Forbes . SURPRISE: PEOPLE ACTUALLY LIKE IT Despite the backlash, System1 —a platform that tests ad performance by comparing it to a massive bank of existing data to gauge emotional resonance—tells a very different story. According to Andrew Tindall, SVP at System1, regular audiences (non-marketers and everyday consumers) actually loved the ad . In fact, it outperformed previous campaigns in its “potential to convert in-market demands.” “I was wrong. This ad, which gave me a visceral reaction, just secured effectiveness gold”, Tindall on his opinion column . Interestingly, the ad’s success wasn’t tied to the fact that it was made with AI. Viewers weren’t even informed about how it was produced. Instead, the key takeaway is that Coca-Cola’s consistent holiday branding—the red trucks, Santa and nostalgia—continues to resonate. The method of creation didn’t matter; the emotional impact did. This raises an important question: Do audiences care about how  something is made or just how  it makes them feel? Familiarity breeds comfort and Coca-Cola has perfected the art of creating happy memories. “Consistent brands refresh the same memory structures again and again. It’s much easier to do this than to create a new memory”, Tindall explains. However, as he also points out, few brands can achieve this. Coca-Cola’s campaign has been building associations for 30 years. That enduring memory structure did the heavy lifting—not the idea and certainly not the AI. FRUSTRATING REALITY FOR (SOME) CREATIVES For industry creatives, though, these Coca Cola AI ads are kind of frustrating—not just because of what they represents (it's cheaper and faster!), but also because the brand has already demonstrated how to use it creatively. Their earlier Masterpiece  ad was a great example of how to use the tool in a fun and innovative way. This year’s one, by contrast, feels like generic content churn . It recalls other AI experiments, like the Toys“R”Us  ad, which was touted for its speed and efficiency but lacked any memorable charm. So, yes. AI is quickly becoming a dream tool for business executives. As marketing professor Marcus Collins explained in an interview with Today : “It’s a push for marketing efficiency. How do we create more with less? It’s just business 101” And from a business perspective, Coca-Cola’s ad is a success. It generated buzz, cost less to produce and allowed for rapid regional customizations, with over 45 versions for the campaign. On their YouTube (as of today), these AI ads have up to 150K+ views each, compared to just 12K+ for a live-action counterpart. So, unfortunately for us, math is not mathing. AI seems to be winning this round. AI IS NOT A MAGIC TRICK Now, we’ve said it before, and we’ll say it again: creating something with AI isn’t easy either. It requires countless iterations and collaboration with various types of creatives. It’s far from magic or the result of a “one-click” process. For instance, Secret Level revealed that they had to "generate over 18,000 images for 34 shots, totaling 85 minutes of content, created in under three weeks". To add a human touch, they even "cast real people as the likeness of their characters". Similarly, Silverside shared their own insights into the ad’s development. According to their website: “Originally, a project of this scale would have taken over 12 months, but with AI, our team brought it to life in just two months. Rendering 10,000 frames, creating 5,000 video segments, and involving over 40 creatives worldwide—including a live choir—this project pushed the limits of AI while highlighting the irreplaceable human touch”. Yet, despite all that effort... this ad? Still feels weird. THE FUTURE OF ADS... SORRY, CONTENT Ads are already everywhere, invading nearly every corner of our personal lives. Whether you’re reading an article, watching a video or scrolling through photos of friends, ads just pop up! So, shouldn’t we at least try to make them worth people’s time? This campaign, along with trends like AI influencers , proves that AI-generated ads are booming. Like it or not, they’re already reshaping the marketing landscape. They are faster and cheaper to produce—exactly what brands need to feed algorithms and stay “top-of-mind” with consumers. It’s clear we’re only going to see more of this type of “filler” content (and not just in advertisement!). So, it’s not really about the tool used to create the ad—it’s about the constant need to generate a steady flow of content to keep up with demand. And in doing so, are we sacrificing creativity for convenience? Anyway, we’ll leave you with Coca-Cola’s new AI Santa and wish you a Merry Christmas!

Lionsgate , the Hollywood studio behind movies like John Wick  and American Psycho , has partnered with Runway , a leading company in generative AI technology. Announced in September 2024, this collaboration focuses on developing a custom generative AI model trained on Lionsgate's extensive film library, which includes over 20,000 titles. Tailored to fit the studio’s specific needs, they want to explore the use of AI throughout the filmmaking process—from storyboarding, to editing and post-production—with a clear goal of reducing costs. “Runway […] will help us utilize AI to develop cutting edge, capital efficient content creation opportunities”, Michael Burns, Lionsgate Vice Chair, official statement.  Tests made by Orbitae, using Gen-3 For those unfamiliar, Runway is a New York-based company specializing in generative AI tools that enable users to create and manipulate video content. Predating other notable AI video generators like Sora and Kling , Runway has recently released its latest algorithm, Gen-3, which delivers polished and consistent final outputs. But Runway’s capabilities also include tracking, ultra slow-motion effects and green screen functionalities, to mention a few. However, effective use of these tools requires numerous iterations and a new army of artists dedicated to exploring the algorithm’s limitations and advantages. Now, while this partnership marks a significant and official step in the use of AI by a major studio, it's important to note that AI’s inclusion in the filmmaking industry is not new . Here are a few recent examples to give you an idea: In 2017, 20th Century Fox started using machine learning to analyze movie trailers and determine audience preferences, as reported by The Verge.   In 2020, Warner Bros partnered with Cinelytic to leverage AI for box office predictions and marketing strategies. By 2023, Reuters reported that Disney was establishing a task force to explore AI applications across the company. That same year, Netflix sparked controversy with its $900,000 AI job postings. In May 2024, Sony's Chief Executive emphasized the studio’s strong focus on AI during an investor conference. On the other hand, Runway has also collaborated with major players in the creative software industry. Indeed, earlier this year, Adobe partnered with various generative AI tools — including Runway — to integrate AI technology into Premiere Pro, enhancing professional video workflows with features like generative fill, video editing capabilities and even B-roll generation. Meanwhile, as George Lucas reminded everyone at the Cannes Film Festival, machine learning (a.k.a. AI) has been a cornerstone in VFX for years. Now, Runway is positioning itself as a partner in this space, offering an different solution to create various types of effects—one of the aspects that attracted Lionsgate. In an interview with the Wall Street Journal (WSJ), Burns explained that the studio plans to use the new AI tools initially for internal purposes, like storyboarding or editing, and eventually for creating backgrounds and special effects, such as explosions, for their action-heavy films. “We do a lot of action movies, so we blow a lot of things up and that is one of the things Runway does”, Michael Burns, Lionsgate Vice Chair, for WSJ. While the Lionsgate-Runway collaboration might be forward-thinking—or perhaps FOMO-driven—as Burns also stated that the studio “could fall behind its competitors” if it didn’t act quickly, it comes at a time of increased scrutiny over the ethical use of AI . As a reminder, Runway has faced legal challenges related to using copyrighted material without permission to train its models. Coupled with the concerns raised during the 2023 SAG-AFTRA strike, this partnership has received strong mixed reactions. Did you know? Swiss film director Peter Luisi had his London premiere for The Last Screenwriter canceled due to backlash over the film being entirely written by AI. Tests made by Orbitae, using Gen-3 Despite the complex landscape where generative AI’s role in entertainment is both celebrated and feared, Lionsgate and Runway clarify that their goal is to enhance the creative process. As Cristóbal Valenzuela, Runway’s co-founder and CEO, said in the company’s official statement :  “The history of art is the history of technology, and these new models are part of our continuous efforts to build transformative mediums for artistic and creative expression; the best stories are yet to be told”​. Looking ahead, Runway is considering ways to license these generative AI models as templates for individual creators or studios interested in building and training their own proprietary models. In short, the Lionsgate-Runway partnership could be a landmark in the adoption of generative AI within the film industry. By developing a custom AI model, Lionsgate aims to stay ahead of competitors. As the industry watches closely, this collaboration might set the standard for how generative AI is integrated into the creative process without compromising artistic integrity (we hope). Whether this will lead to an increase in "content" (to use Burns words) that lacks substance, remains to be seen. Does this mean that we might see a generative AI category at the Oscars? Only time will tell. For now, grab your popcorn—not just for the movies, but for the drama unfolding before our eyes.

The Planet of the Apes  reboot films earned widespread praise for their lifelike CGI characters, but what’s the secret behind their believability? The answer lies in mocap , a technique that transfers an actor's performance directly to digital characters. Epitomized by Andy Serkis’ portrayal of Caesar, mocap has transformed how CGI characters are brought to life. Evolving from rotoscoping  to today’s performance capture , it’s a constantly advancing technique that continues to give us unforgettable characters. So, here are 8 things you might not know about mocap. Motion Capture (noun) : a technology for digitally recording specific movements of a person (such as an actor) and translating them into computer-animated images. Merriam Webster Dictionary 1. MOCAP VS PERFORMANCE CAPTURE At first glance, motion capture  (mocap) and performance capture seem similar, but they record different elements. While the first focuses only on body movements, the latter goes further by also tracking facial expressions, eye movements, hands, fingers and even the voice. This results in much more emotionally expressive digital characters. In films like Planet of the Apes , it’s the ability to capture every subtle expression of the actors that gives characters a truly lifelike presence, making them feel more human, and therefore, more relatable to the audience. 2. IT ALL STARTED WITH... In the late 90s, several directors gambled on motion capture technology to bring characters to life. Notable examples include the digi-doubles that populated the ship of Titanic (1997), Jar-Jar Binks in Star Wars: Episode I – The Phantom Menace  (1999), and Imhotep in The Mummy (1999), which used a blend of CGI and early mocap to animate the resurrected villain. However, the first real leap into motion capture as we know it came with Sinbad: Beyond the Veil of Mists  (2000), an Indian-American animated film. While it didn’t perform well upon release, it was the first feature to extensively use mocap, laying the groundwork for future films to adopt the technology. It also played a crucial role in developing the 3D optical capture techniques  that would later dominate the industry. However, it was in 2002, with Gollum  in The Lord of the Rings , that mocap truly became a game-changer. Now, actors could "be on set, outdoors, with other actors and in the moment”, as noted by IGN . From that point on, mocap evolved into the version we know today, where both physical and emotional performances can be captured simultaneously. Thanks to the constant evolution of this technology, we’ve been able to witness amazing characters and performances in movies, like Davy Jones and Thanos.   3. KING KONG: THE FIRST NON-HUMAN PERFORMANCE King Kong (2005) marked a pivotal moment for performance capture, becoming the first major use of both full-body and facial capture to create a completely non-human character. Unlike Gollum, who relied on dialogue to communicate emotion, King Kong had to convey everything through body language, facial expressions and animalistic sounds. “The facial motion capture began to come into existence at that point. We worked with 3D markers; I had about 132 markers all over my face and my eyelids. Kong was a real marriage of physical and facial capture”, Andy Serkis in an interview for Popular Mechanics. This advancement paved the way for many non-human characters that exhibited very human-like behaviors. Such is the case of Smaug , portrayed by Benedict Cumberbatch, the dragon from The Hobbit: The Desolation of Smaug  (2013), or Ted , incarnated by Seth MacFarlane, the mischievous teddy bear from Ted  (2012). 4. THE ANIMATORS’ HIDDEN WORK Performance capture isn’t a perfect, one-step process. Even after an actor’s movements and facial expressions are captured, the raw data often requires cleanup  to fix glitches and technical imperfections. These include smoothing out jerky motions, correcting marker misalignments, and refining any data distortions caused by equipment or environmental factors. Once the data is cleaned up, enhancement  takes place—animators work on adjusting the performance to better fit the character’s digital anatomy. For non-human characters like Caesar in Planet of the Apes , this step is crucial. Caesar’s facial structure is different from a human, so animators have to adapt the performance to make it feel natural while retaining the actor’s emotional nuances.   Blacksmith made by Orbitae for Winamax - process 5. MOCAP ISN’T CONSIDERED ANIMATION A surprising fact is that the Academy of Motion Picture Arts and Sciences  does not consider motion capture performances as “animated”. As the technology advanced, with films like The Polar Express  and Avatar  bringing performance capture into the mainstream, the Academy had to address this new style. In 2010 , they updated the rules, stating that “animation must figure in no less than 75 percent of the picture’s running time” and clarified that motion capture alone is not considered an animation technique​. This meant that films like Spielberg’s The Adventures of Tintin  (2011), though created entirely using 3D techniques and mocap, did not qualify as an animated film under Academy rules (which are still in effect for 2025 ).   More recently, this exclusion affected projects like Ishan Shukla’s Shirkoa: In Lies We Trus t (2024), a film made with Unreal Engine and using mocap for all the performances. Because of it, Shukla revealed that his movie was not eligible for the Annecy International Animation Film Festival , despite being visually what we would normally consider an animation movie.   This raises another debate: if motion capture is not considered animation, should actors like Andy Serkis be eligible for Best Actor nominations for their CG performances?   6. THE OLDER BROTHER: ROTOSCOPY Before motion capture, there was rotoscoping, an animation technique invented by Max Fleischer, the creator of Betty Boop . Rotoscoping added realism to animated characters by using live-action footage as a reference, where animators would trace over each frame to capture the movement. Disney famously used this method in films like Snow White and the Seven Dwarfs  (1937) to give characters more lifelike movement. 7. MARKERLESS MOCAP IS EMERGING While marker-based motion capture remains the industry standard, markerless mocap—which uses AI to track movement without special suits or markers—is gaining popularity. Tools like Move.ai  and Rokoko are making this technology more accessible to smaller studios and independent filmmakers by eliminating the need for expensive rigs and specialized equipment. However, as of today, the accessible versions still have limitations. They lack the precision of traditional systems, especially when capturing fine details like finger movements, complex facial expressions or intricate body interactions. As a result, animators are often required to do more cleanup and enhancements to smooth out the data and ensure accuracy. But it sure is a great tool to play with and make some tests, if you’re trying to do some mocap.  8. NOT FOR EVERY ACTOR “I have had to work completely differently than I ever have before”, Sigourney Weaver on her work on Avatar. Acting in mocap requires a unique combination of physical and emotional performance. Unlike traditional acting, where costumes and makeup help convey a character, mocap actors perform in special suits covered with markers. Depending on the movie, like Cameron's Avatar movies, they also often have to act in empty environments, with little to no set design. This type of acting demands not just a lot of imagination, but also huge amounts of training and incredible physical control to bring those fantastic characters to life. To achieve this, many mocap actors undergo training in disciplines like stunts , mime , or dance  to master their body movements and portray both human and non-human characters with precision.

The fashion world is no stranger to trends, but the latest—coined the "faux or fake 'ooh'" (FOOH)—has captivated social media, injecting awe and excitement into otherwise traditional ad campaigns. This phenomenon, which began with a viral Instagram post by French fashion house Jacquemus in 2023, has since become a creative tool across various sectors, including the film industry and brand marketing. FOOH made by Orbitae THE BIRTH OF THE FOOH In April 2023, Jacquemus launched an Instagram post that quickly went viral, generating buzz far beyond the fashion community. The post featured their iconic Bambino bags cruising through the streets of Paris as if they were cars. The visuals were so convincing that viewers questioned whether they were real or digitally manipulated—a perfect example of what would later be dubbed the "faux or fake ooh". The post, now iconic with 48.8 million views , was the work of 3D artist Ian Padgham , who uses CGI to create fun and improbable social media videos. In an interview with Paper , Padgham revealed that he pushes to have “carte blanche” on the creative process. Initially, Jacquemus wasn't certain about the tone, but ultimately, their decision to proceed with this playful concept proved to be very successful. So, they kept on doing it. Images from Jacquemus' Instagram Today, these kinds of videos are taking over social media, used by brands and the movie industry alike. This fusion of real video footage with CGI elements has captivated audiences and opened new possibilities for digital marketing. NOT YOUR REGULAR REEL FOOH is all about blending real-world environments with digitally created objects, producing scenes that straddle the line between reality and fantasy—achievements that would be nearly impossible in traditional marketing or standard OOH campaigns. The range of videos is now as creative and varied as possible. This also means that it allows you to put your product or campaign wherever you want. Have an event in Paris? Put the product near the Arc de Triomphe. Your movie premieres in a festival or a specific city? No need to plan complex logistics—create a stunning digital element in the real backdrop that fits the occasion. All in all, FOOH's flexibility reduces production costs and time, while maximizing the impact and reach of your campaign. This dynamic approach enables brands to craft memorable experiences that resonate with diverse audiences, making it a powerful tool in today’s digital-first marketing strategies.  To create these reels, Padgham outlines a meticulous three-step process. First, the footage is filmed in a way that allows for 3D space tracking, essential for inserting digital elements. Next, these CGI elements, such as the bags, are integrated into the footage with careful attention to lighting, shadows, reflections, and the physical space. Finally, hours are spent retouching each detail, ensuring that viewers can't easily detect the manipulation. “The reason these videos do so well is that probably half of the people who see them either think it's real or can't tell, and that's what drives engagement,” Padgham explains. MARKETING DECEIT OR KEEPING UP WITH THE TIMES? With the rise of FOOH, some have questioned whether this trend should have a place in the marketing landscape. Critics argue that these campaigns blur the line between reality and fantasy, potentially misleading audiences, thus hurting the brand. However, proponents view them as a legitimate artistic and marketing tool that leverages digital innovation. The controversy centers on whether such "faux" elements enhance creativity or undermine authenticity. Despite the debate, FOOH is here to stay. While some ads may make you look twice, the intention is not to deceive but to create something fun and surprising fro you to watch on your feed. Numbers back up the trend: a Medium article  reports that FOOH has a 20% higher recall rate compared to traditional OOH, and 74% of marketers have seen a spike in engagement with these digital strategies. In the end, it's still about the same thing: being memorable, all while allowing brands to showcase a different fun side of themselves. The possibilities are endless, and the impact is undeniable. That’s why at Orbitae, with our 15 years of expertise in 3D, we’re here to help you harness this fun and innovative approach. Let’s create something extraordinary together—something that makes your audience do a double-take and remember your brand. Contact us today to start your FOOH campaign!

Everyone's talking about it. The 96th Oscars ceremony, set for March 10, 2024, has unveiled its nominations. But who are the nominees in the Best Visual Effects category? We tell you.   The Creator by Gareth Edwards This film made waves last year with the director's unconventional approach to staging a science fiction story on a limited budget ( read article ). It's no surprise then that it's among the Oscar VFX nominees. Instead of using green screens or motion capture suits, the effects, created by ILM (Industrial Light & Magic), were added directly onto the shots. "We shoot everything as if it was there (...). And then, edit the movie and when we were sure about what the shots were, that's when we designed the world", he said in an interview with AMD , adding: "essentially, we would design the science fiction on top". Source: ILM Facebook page   Godzilla Minus One by Takashi Yamazaki (WINNER!) For the first time, the King of Monsters is nominated for an Oscar! And what a joy that it's in its Japanese version! Indeed, this star has been appearing on our screens since 1954 and it's only 70 years later that it has finally been recognized. But let's get back to the point. The film was nominated for best visual effects, directed by Takashi Yamazaki (who was also the screenwriter and director). It has a total of 610 visual effects shots made by 35 artists, according to The Hollywoord reporter . In comparison, Top Gun: Maverick had 2400 and a budget ten times higher.   Guardians of the Galaxy: Vol 3 by James Gunn This third installment particularly touched the audience's heart with the backstory of Rocket (aka Rabbit). A broken past, scientific experiments, animal abuse, it's all there. Last year, we had the opportunity to see Nathan McConnel, animation supervisor at Framestore , and Stuart Bullen, VFX supervisor at RISE , involved in the film's effects at the NIFFF. And we learned a lot. For example, did you know that all the animations were done by hand? No motion capture, not even for Groot. In total, over 800 special effects artists participated in the film. The most difficult scene? The animal stampede at the end of the film when they are released. The adorable baby raccoons won everyone's heart. Tests conducted by Framestore.   Mission Impossible: Dead Reckoning Part 1 by Christopher McQuarrie With this film, McQuarrie continues the legacy of the series in terms of innovative special effects, combining cutting-edge technology and physical feats, especially with Tom Cruise, known for pushing the boundaries of the (im)possible. "McQuarrie stressed the importance of designing all VFX shots with “How would this be done practically" at the forefront of our minds. So we had to contemplate how one would realistically film and light a 150m long submarine at ocean depths ", explains Joel Green, effects supervisor at beloFX, who worked almost exclusively on the opening sequence , in an interview given for Art of VFX . The film required a total of 2640 shots with visual effects, reflecting the scale of the work done. Napoleon by Ridley Scott Here is another film promoted as having "no CGI" nominated to the Oscars for Best VFX (would you like to read an article about it? Let us know). Interviews given by Scott have even become memes in the industry. Like films such as Oppenheimer , Hollywood and the media often take a critical stance on the intensive use of visual effects, but what would these movies be without them? Although indeed 100 horses were used for the battle scenes, this number remains modest to give Napoleon its epic character. Therefore, considerable work was dedicated to extending the sets, adding horses and characters, as well as incorporating snow, boats and other scenic elements. Although invisible, CGI was essential in the making of this movie. It's what makes the illusion come to life. Meme that circulated on social media   Which one was your favorite movie? Which movie do you think should have been nominated for outstanding VFX? Let us know in the comments.

OpenAI made headlines again, this time with their new tool, Sora. A new text-to-video generator, that has created both excitement and concern across various sectors, including in the realm of filmmaking. Why? Because unlike its contemporaries, Sora seems to produce more photorealistic videos (and animated ones), with a lot of movement, in kind of a reliable way.   So, here is what you need to know and what we think about it. Prompt: Photorealistic closeup video of two pirate ships battling each other as they sail inside a cup of coffee. SORA: A LEAP IN CONTENT CREATION At its core, Sora is another text-to-video model. However, per Open AI’s websit e, it “is able to generate complex scenes with multiple characters, specific types of motion, and accurate details of the subject and background. The model understands not only what the user has asked for in the prompt, but also how those things exist in the physical world”. Which, according to the videos published, is indeed quite impressive. Here’s a bit of info dump: Sora's videos are up to 60 seconds long in f ull HD 1920x1080. It is not yet available to the public. There is not a release date. It’s still under assessment for critical areas. Open AI will share the progress of their research on their website. You can see some of the videos they are generating over on their TikTok. FEARS AND TURMOIL Concerns have immediately surfaced about the implications of such technology regarding fraud, misinformation and other possible misuses (including copyright). According to OpenAI, they are “taking several important safety steps ahead of making Sora available”, and add: “we are working with red teamers — domain experts in areas like misinformation, hateful content, and bias — who will be adversarially testing the model”. Prompt: An extreme close-up of an gray-haired man with a beard in his 60s, he is deep in thought pondering the history of the universe as he sits at a cafe in Paris, his eyes focus on people offscreen as they walk as he sits mostly motionless, he is dressed in a wool coat suit coat with a button-down shirt , he wears a brown beret and glasses and has a very professorial appearance, and the end he offers a subtle closed-mouth smile as if he found the answer to the mystery of life, the lighting is very cinematic with the golden light and the Parisian streets and city in the background, depth of field, cinematic 35mm film. Although this is clearly important, this is not an article about that. This is about its impact on filmmaking, with some saying that we’re doomed. That it’s the “end for directors” or worse. New technologies have always sparked fear and apprehension, but history shows us that the introduction of new technology, while initially daunting, does not necessarily lead to the obsolescence of traditional skills and roles, but more to the rise of new set of skills. This is similar to when everyone was going to ( magically) become a photographer, because we all have an HQ camera in our pockets. It did not happen. The majority still takes crappy pictures of their food (no offense). Sora and similar tools are unlikely to replace the nuanced expertise of film directors and technicians . But they will certainly change the panorama, as they do offer more individuals new tools to bring their vision to life, potentially enriching the industry with a wider array of stories and perspectives. TECHNOLOGY AND CINEMA: AN ONGOING EVOLUTION Let’s not forget that the film industry has always thrived on technological innovation. Fom the invention of the camera itself to the use of CGI in creating visual effects, instead of matte paintings or stop motion, each advancement has brought changes, opening new avenues for creative expression . Sora, in this light, is but the latest chapter in filmmaking's ongoing evolution, offering tools that were the exclusive domain of Hollywood to a broader audience. Prompt: Borneo wildlife on the Kinabatangan River Stock footage as we know it, however, may become obsolete , although further testing is required to determine its integration into filmed scenes. We have tested numerous AI tools to assess if they're production ready. As of the publication date of this article, few have reached that stage, including Adobe Photoshop's AI generative tool, which we utilized to digitally demolish a large building (would you like to know how we did it? Let us know in the comments!). That's another thing... it will change how we make VFX (again!). So, let's brace! AI VIDEO GENERATORS, A NEW MEDIUM The rise of AI video generators, such as Sora, marks an exciting evolution in digital content creation and filmmaking. However, Sora is not the only player in this field. Google is also researching its own technology, called Lumiere , and Pika  emerges as a strong competitor to Runway . The latter has even introduced specific features like zoom in/out, pan left/right, alongside the traditional text and image prompts, which is indeed very cool. And these are just a few examples! These tools promise to democratize video production. Yet, our testing reveals a more complex reality. While they empower creators with new forms of expression, mastering these platforms often requires a blend of creativity, technical skill, and patience. Which means the rise of a new type of artists.  The allure of AI-assisted video creation is undeniable, yet it's accompanied by a learning curve and an inherent element of randomness that challenges the notion of 'effortless' content generation. It is not as magical as it seems. EMBRACING THE FUTURE AI is bringing forth a new era for ideas. It offers a new lens through which to view creativity. Before, you not only had to have the  idea, but also the know-how (how to paint light, chose colors, etc.). Now, it’s more about the lengths of your imagination and pushing it. This shift is what we find both exhilarating and intimidating at the same time. Indeed, with AI, anyone can create an aesthetically pleasing image, but it’s yet another one in an endless pool of content (which may lead to a potential 'standardization' of art). So, the real questions are: What are you going to ask it? How are you going to edit it and make it your own? How are you going to use it to push your own creativity? Prompt: A petri dish with a bamboo forest growing within it that has tiny red pandas running around. If you’re a filmmaker or an artist, just give it a go! There are hundreds of AI tools today (and not only video generators). See which ones can fit or enhance your workflow, adapt to your pipeline, streamline processes and even help you in exploring new ways to shape an idea . Use AI to visualize pitches, to help you write dialogue in a language in which you're not fluent, and discover fresh strategies for transferring ideas from your imagination to paper and, eventually, onto the screen. Thus, the mixed feelings of excitement and concern surrounding technologies like Sora are understandable. However, their true value and impact will be shaped by our choices as artists in how we adopt and integrate these tools. By viewing them as enhancements to human creativity and expertise rather than replacements (this also holds true for studios… cough cough ), the filmmaking industry is set to continue its evolution, crafting stories that continue to inspire and bring amazement.

In the past, attempts to bring the story of Dune, by Frank Herbert, to the big screen were made, but without success. Jodorowsky , in the 1970s, envisioned and assembled a dream team to bring the story to life, but the project never received the green light. Then, in 1984, David Lynch's controversial version was released. In 2021, it was Denis Villeneuve's turn and, this time, it was a success. The second installment, released in early 2024, continues in this vein. It has a distinct, epic, and captivating look. But how did they do it? What technologies were used? Here are our top 3 techniques used to bring this monumental science fiction film to life. THE FREMEN'S BLUE EYES Changing eye color on screen is a well-known challenge, sometimes leading adaptations, like those of Harry Potter or Daenerys Targaryen, to deviate from the original descriptions. Contact lenses, impractical, and manual visual effects, costly in time and resources, limit these changes. For "Dune: Part Two", the DNEG team innovated with a more efficient solution. Unlike the first film, where manual addition of blue eyes was the norm, this sequel introduced artificial intelligence. They trained a machine learning model on shots from the first film, so the algorithm could automatically recognize and color human eyes blue. Although it required adjustments to avoid some errors, such as changing the eye color of non-Fremen characters and some minor touch-ups, this revolutionary method, described by Paul Lambert, VFX supervisor at DNEG , marks a significant advance in post-production techniques. IN PREVIS WE TRUST The use of the Unreal Engine tool was crucial for planning and producing the film. At the SXSW festival, a panel called " Dune Two, Real-Time Tech & the Implications for Storytelling " highlighted how integrating this technology brought the film to life, thanks to Previs. “I would encourage many people in my position to explore Unreal, to explore other pre-visualization techniques that can help you support your director as much as you can,” Jessica Darhammer, co-producer. According to Jessica Derhammer, co-producer of the movie, given the magnitude of the film and the added complexity of shooting in various locations, including the desert, there was a lot of prep involved. So, they had to align pretty early on the creative side with the logistics. The question quickly became, "practically, how are we going to shoot this in six months?". That's when they decided to use Unreal Engine to previsualize the sets and even the characters. Drones were also deployed to scout locations. The data was then imported into Unreal Engine, allowing them to work in advance on blocking, lighting, shadow areas, sunlight hours, angles, and much more. "You’re not making these decisions in a vacuum. You’re actually looking through the real camera lens and then you can pop out of that view and see what’s required of the scene around it; where can I position my lights? How many lights do I need? [...] And it really allows the filmmakers to all congregate and make informed decisions together that serve every individual department”, confirms Brian Frager from Epic Games. GLADIATOR SCENE ON HARKONNEN To capture the unique atmosphere of the Harkonnen planet, a specific infrared shooting technique was employed, transforming the images into black and white and giving the scenes an unreal and sinister aspect. The technique used relied on the infrared on the camera sensor, a method already exploited in other films like "Nope," to create the night effect, and even by Villeneuve himself for visual effects in other projects. In this case, the goal was to produce a feeling of scary unreality, where the characters' skin becomes almost translucent. This artistic decision, once made, was irreversible during shooting, highlighting the team's commitment to this particular aesthetic vision. As the director explained to IndieWire : " I had to warn the studio that there was no way back. It’s not an effect that we did in post-production " and adds, " I love the commitment and the risk of it". This method also posed a real challenge for the makeup and costume departments, requiring exhaustive tests to ensure the adequacy of colors and textures under the effect of infrared. The reactions of materials to specific light and heat conditions were unpredictable; even tattoos hidden under traditional makeup were revealed under infrared.

We often discuss image and video generators , but let’s shift our focus to music generators — a burgeoning field in the AI landscape. With a plethora of options available, we decided it was time to put some of these tools to the test to gauge their evolution and what they currently offer. These generators operate by analyzing extensive datasets of music, learning from a variety of styles and compositions. Users can specify parameters such as genre, tempo and mood, guiding the AI to produce music that aligns with these preferences. As filmmakers and musicians ourselves —fact, check out our Spotify —, we find these tools interesting, as they help quickly sketch out song ideas or create simple tracks for social media videos or others. COPYRIGHTS AND LICENSING WITH AI-GENERATED MUSIC Now, before we go on, keep in mind that the rise of AI-generated music obviously brings up significant questions regarding copyrights. So, it’s essential for users to understand the terms and conditions of usage and licensing, as they can vary greatly between different services. Some platforms might retain rights to the music created, while others may offer complete ownership to the user. Some allow you to monetize the song, but only if you have paid plans. Always review the licensing agreement carefully to ensure that you retain the rights needed for your intended use, may it be ads, content creation or even short films and movies. TESTING AI MUSIC GENERATORS WITH THE SAME PROMPT To compare the capabilities and outputs of different AI music generators that you can try out right now, we used the same prompt across different platforms. This experiment highlighted the strengths and creative diversity of each tool. Prompt: “Make a grunge song, very passionate and depressed, the likes of Something in the Way. Make it about self-doubt, control and aliens” UDIO  - As the newest kid on the block, UDIO is breaking the internet. Despite being in its beta testing phase, the results it produces are quite impressive. It effectively captures the intended genre and the voices are convincing. It generates two songs per prompt, each approximately 30 seconds long, complete with lyrics. The songs can be extended, if needed.   Currently, the control over the output is limited; you can only adjust a few parameters such as prompts, tags, whether the lyrics are custom or generated, and if the composition should be instrumental. Lyrics generated I'm no stranger here (stranger here) Grasp at threads of faith, so sheer (Hey) darling, fight your own fight Don't trust your shadow In the alien night [Bridge] My heart's a quiet, grungy reverie Alien thoughts, they come to steer (come to steer) Whispers of doubt, what I most fear (Hey) darling, beneath the skin so tight Battles rage on in the mind's dim light [Chorus] In the vast unknown, I'm losing my hold Can't tell if I'm the captive or the patrol SUNO  – We first tested it last year and it seems to have had a nice evolution since then. Today, it generates two songs per prompt, each with two verses and a chorus. Additionally, it creates lyrics—which you can customize or you can put your own—and an accompanying image for your song. It’s user-friendly, though it lacks extensive parameters to control the final output, similar to UDIO. The voices are decent and it generates some intriguing ideas. Lyrics generated [Verse] In the darkest corners of my weary mind I find the shadows of my own disbelief Lost in a maze of self-doubt and despair I question if I'll ever break free [Verse 2] I feel a fire burning deep within my soul Yet it’s snuffed out by the hand of control Torn between the demons and the light I yearn for something more, something right [Chorus] This alien world pulls me down, down, down I'm lost in the depths, feeling it all around Shadows of the mind, they consume my being In this grunge symphony, I find my meaning SONAUTO  – This tool is quite straightforward; you can use a prompt or even a song as a reference, and that's it. It generates three songs per prompt, complete with lyrics. However, the quality leaves much to be desired—it's as if we're dealing with a band that needs more rehearsal. The "singers" require significant improvement and the overall sound is pretty messy. Despite these shortcomings, it does manage to create a song within the specified genre, and it's also fun to hear AI fail. :) Lyrics generated [Verse 1] Underneath the shadow where I hide Doubts like creatures creeping up inside Grasping for the truth beyond my reach Alien thoughts that no one dares to preach [Chorus] In this world, I’m lost, can’t find my way Like I’m controlled, just a pawn in their play Among the stars, whispers calling my name I'm just a soul, in their cosmic game [Verse 2] Echoes of a life that feels so strained Wrestling with the thoughts that keep me chained Searching for a sign in the night sky A glimmer of hope, or just another lie? [Chorus] BEATOVEN   – This tool is primarily designed to create moods and atmospheres rather than full songs. We conducted some tests with it a year ago and noticed little evolution in its capabilities since. While it offers several parameters to control aspects like emotions, instruments, tempo and genre, it hasn’t fully satisfied our requirements or lived up to our expectations. Disclaimer : they don't allow downloads unless you pay a subscription, so here's the one we created a year ago - as said, the concept is similar, more atmospheric than songs per se. SOUNDRAW  – This one is very different from the others. It doesn't require a text prompt; users simply set the length, tempo and genre. It generates—or rather, spurts out—a multitude of song ideas that sound more like MIDI tracks, serving as a foundational base for further creative development.   The tool also allows users to “shorten intros, rearrange choruses, and personalize your song structure”, as described on its website. Although it doesn't support adding vocals for this genre, our tests with trap music revealed it occasionally inserts brief 'hey' sounds—not full singing voices. We recommend keeping an eye on this tool if you're a musician. However, for filmmakers, it might not be the ideal choice. Disclaimer : they don't allow downloads unless you pay a subscription. SPECIAL MENTION : AIVA of Nvidia - it offers the ability to create specific and customized music. Unlike others, it doesn't accept text prompts. Instead, you can create a song based on a style, a chord progression, step-by-step adjustments, or musical influences.   It's more complex than the others, and we plan to explore it further. However, for the purposes of this article, it's not included in our main comparison. What we've observed so far is its limitation in recognizing the 'grunge' genre. It's also worth noting that this tool seems to be particularly suited for producers and musicians, rather than filmmakers or general content creators. We also explored other tools like Mubert and Stable Audio , though these didn't quite capture our interest or provide the fun results we hoped for. And there's still a wealth of AI technology out there to explore, such as Soundful and the upcoming MusicLM from Google. In conclusion, much like other types of AI generators, those that generate music can be both fun and useful. It’s essential that we harness them wisely to ensure that creativity flourishes without stagnation, while also respecting the rights of all creators involved. How we use these AI tools will significantly shape the future of art. What is certain is that these music generators will enable more people to explore their musical potential, paving the way for a new breed of artists to emerge.

That is the question in the filmmaking industry right now (and probably everywhere else). As with any new technology, there's tension between innovation and tradition, and AI is no exception. In the filmmaking industry, although revolutionary, it's also sparking significant backlash ( we still remember the opening title sequence of Secret Invasion ). Filmmakers, actors and audiences are grappling with questions about the limits of AI's role in creative processes. Here are some of the most recent controversies that highlight the debate over AI's place in filmmaking. Where do you think is the limit? REMASTERING OLD MOVIES WITH AI Recently, AI technology has been used to remaster classic films in 4K resolution, including James Cameron’s “True Lies”, “Aliens” and “The Abyss”, receiving mixed reviews. Some say that having taken away the grain, among other pristine enhancements, makes everything feel less real, even a bit weird. Which raises questions about the balance between enhancing image quality and preserving the original aesthetic. However, this kind of backlash is not new. Indeed, in 1998 when “Titanic” was released on LaserDisc and VHS, significant work was done to erase imperfections from the negative. Yet some viewers objected, insisting that the original flaws, like scratches, should remain. Geoff Burdick, an executive at James Cameron’s Lightstorm Entertainment, told The New York Times  that: “There were a lot of folks who said, ‘This is not right! You’ve removed all of this stuff! If the negative is scratched, then we should see that scratch.’ People were really hard-core about it”. So, todays reaction came as no surprise to him. AI-GENERATED PROMOTIONAL MATERIAL A24's latest film, "Civil War", released AI-generated posters depicting chaotic scenes. Fans were quick to notice wonky details (such as a 3-door car), raising questions about the impact of AI on real artist who could have done it. Some even called it false advertising, as the images did not appear in the movie. However, a source told the Hollywood Reporter , that “the entire movie is a big ‘what if’ and so we wanted to continue that thought on social media— powerful imagery of iconic landmarks with that dystopian realism”, and that is why they did this campaign. ©A24 - Instagram page Last year, it was Disney who was accused of using AI to generate a poster to promote “Loki”, although the company later debunked it, according to Mashable . GENERATED ELEMENTS WITHIN MOVIES The horror film "Late Night with the Devil" faces backlash for using AI to generate three 1970s-style title cards. Some people on X called for boycott, others claimed that it starts with small things – like three title cards -, but ends up undercutting and underpaying artists. The writer-directors brothers Cairnes responded to the controversy by telling Variety that “in conjunction with our amazing graphics and production design team […], we experimented with AI for three still images which we edited further and ultimately appear as very brief interstitials in the film”. Left: movie poster / Right: AI card generated ©IFC Films and Shudder ​In another case, AI-generated posters appeared in an episode of "True Detective", sparking discussions about AI's use in background imagery and its impact on the series' authenticity, as Futurism reported.    Last year, it was Netflix Japan  who was under pressure after they announced on X they used background art generated with an AI for an animated short called “Dog and Boy”. AI GENERATED VOICES In the 2024 remake of "Road House," allegations arose that AI was used to recreate actors' voices during the 2023 SAG-AFTRA strike. According to Looper , R. Lance Hill, the original writer, filed a lawsuit against Amazon Studios and Metro-Goldwyn-Mayer, claiming AI was used for Automated Dialogue Replacement (ADR) to speed up production​. This raised concerns about using AI to replace actors' work (during a strike or not). However, a spokesperson for Amazon refuted the claims. You can also read our article about other voice cloning cases. On the other hand, AI has been used for positive purposes. In 2022, Fortune reported that Sonantic, an AI-based technology company, "masterfully restored" Val Kilmer's voice, which he lost after a two-year battle with throat cancer. However, Paramount clarified that this technology wasn't used in "Top Gun: Maverick", despite rumors to the contrary​ – but they also said the movie had Zero CGI, which… you know​. AI USE IN DOCUMENTARIES While some uses of AI in fictional movies may be acceptable (although not without controversy), it becomes a different story in documentary filmmaking, where authenticity is crucial. Netflix faces criticism for its documentary, "What Jennifer Did", which allegedly used AI-generated images without clear disclosure. Futurism were the first ones to point out the inconsistencies in the images that depict Jennifer Pan's "bubbly" personality. However, in an interview with The Toronto Star , executive producer Jeremy Grimaldi said: “The photos of Jennifer are real photos of her. The foreground is exactly her. The background has been anonymized to protect the source”. Thus, eluding if they used or not AI tools to modify it. Regardless of it, for those who have tinkered a bit with AI, the images do raise severe questions and the transparency of AI use (or absence of it), crosses a critical line into malpractice. SO, WHEN TO AI AND WHEN NOT? The question of whether to embrace AI in filmmaking or avoid it remains a hot topic. While AI has undoubtedly made some tasks easier, sometimes reducing the need for larger production teams, it can't replace human creativity and insight. The backlash against AI by the audience often stems from a lack of transparency or fear that technology will erode the artistic integrity that filmmakers and film lovers value. However, these reactions can drive filmmakers to use AI without full disclosure, leading to greater mistrust, akin to the “zero CGI” campaigns. So, when should AI be disclosed? In documentaries and other journalistic works, transparency seems crucial. But in fictional films, the line is less clear. Should we require studios to disclose every AI tool used and therefore how it was used? What about other softwares or even machines, like sewing ones? Seems a bit excessive. Ultimately, the debate over AI in filmmaking reflects a larger struggle between innovation and tradition. But did you know that AI has actually been part of the industry for a few years now? We only know about it now. Let us know in the comments if you'd like us to cover that topic too!

When you’re creating a villain, you better make him or her with features that are easily and immediately recognizable. This is important, as they need to be memorable . You can achieve this through the profile, the voice or a specific feature, like a scar or the absence of a nose. In fact, removing this central part of the face - a part we all take for granted-, makes the villain less human and closer to death, therefore more of a potential threat. That is why it is common in the villain arena to have noseless antagonists. But you guessed it, creating a character without a nose is no easy endeavor. To be able to make it believable, you have to blend the practical with the digital. It’s a perfect example of SFX with VFX. THE GHOUL - FALLOUT Walton Goggins is the actor that plays the Ghoul in the recently released series adaptation of the game Fallout . The SFX make-up, designed by Vincent Van Dyke and applied by Jake Garber, took around 5 hours to put on, including prosthetics and dentures, but they were able to narrow it down to 2 hours. In order to remove the nose, they painted a few white dots over it and it’s VFX Studio FutureWorks India, who stepped in to remove it in at least 500 shots , according to Looper . The actor said to Deadline that the transformation was “extremely anxiety provoking” at first, as he had to figure out how to act, express himself and talk with all these prosthetics on. VOLDEMORT - HARRY POTTER He-Who-Must-Not-Be-Named had a serpent like nose which was very hard to create. According to Shaune Harrison, key prosthetics Designer who worked on the Harry Potter & The Philosophers stone movie, the producers initially wanted the nose to be removed practically. “Even though we knew it was fairly impossible, we went ahead and sculpted a version which of course was rejected”, he describes on his website . Therefore, they opted to remove it digitally, adding tracking dots on the face, which proved to be incredibly hard. Left : prosthetic test | Middle: tracking dots | Right: final look with VFX In an interview with RatioTimes.com , Paul Franklin, the visual effects supervisor of the movie, said that Voldemort’s nose “had to be painstakingly edited out, frame by frame, over the whole film. And then the snake slits had to be added and tracked very carefully using dots put on his face for reference”, and added: “The art and time that goes into those nostrils should never be underestimated”. RED SKULL - CAPTAIN AMERICA Red Skull is such an important and recognizable character in the Marvel comics, that it was a great challenge to recreate him for a life-action movie. The beautiful 7-pieces silicon prosthetics applied in around 3 ½ hours by SFX make-up artist David White , were designed to make sure that the features of the actor, the one and only Hugo Weaving (LOTR, Matrix, etc.), were never lost. Then it was time for digital enhancement. “His nose had been simply left black by make-up, and we had to paint that out replacing it with a CG cavity complete with sinewy tissue in his sinus”, Fawkner, VFX Supervisor. Left : make up with tracking dots | Right: final look with VFX ©Walt Disney Company What seemed like a relatively simple brief of nose replacement, became more complicated than expected, as Jonathan Fawkner, Visual Effects Supervisor from Framestore, explains : “the mask is a beautiful piece of work, but, ultimately, it sat on top of [Hugo’s] face, with all that that entails. It bulged over his neck, over the back of the head, it had too prominent a chin in some shots […]. Hugo's performance pushed the mask into places which prosthetics couldn’t anticipate”. So, what did they do in addition to remove the nose? Well, in the end, they had to recreate a full 3D version of the head, among other things. Here’s the list: Red Skull VFX enhancements Replaced the nose with a CGI one Eyes: painted out the eyelashes darkened the sockets sunked the eyes a bit more Thinned down the lower lip so that it’s less fleshy Squared up the jaw Took out the gap between the teeth of the actor Gaunt up the cheeks Erased any crease or rolls that would normally form with the prosthetic while shooting (in the neck, for example) Sometimes they had to reduce the volume of Hugo’s head VECNA - STRANGER THINGS With Vecna, the Duffer brothers, directors of Stranger Things, wanted an iconic villain, akin to the Night King. So, it was only logical they contacted the man who brought to life the Game of Thrones villain: Barrie Gower. Inspired by the concept art made by Michael Mayer, the team at BGFX  made a full body cast of the actor, in order to sculpt and mold up to 25 different prosthetics. In total, it took around 8 hours for the team of make-up artists to apply and paint all the body, head and face appliances. “It was very clear from day one that we would work very closely with the VFX team”, explains Bower to Vanity Fair , in order to make enhancements, like the removal of the nose (painted black with white dots), but also the moving vines all over his body. In addition to that, although they sculpted and practically created Vecna’s left hand, it had to be completely replaced by a CG one, because “the on-set practical suit wasn’t enabling to have proper acting with it. So, every time you see this mutated hand, it’s the work of the animation team”, as explained by Julien Héry, VFX supervisor at Rodeo FX. See the full breakdown here .