Now that the season of the witch has passed, let’s admit it... we’ve all indulged in some exploitation movies. But, what exactly are those? Exploitation films are movies that go straight for the jugular, exaggerating popular themes to draw in audiences. They focus on sensational topics (extreme violence, scandalous plotlines or taboos) meant to shock and awe with their often low-budget, edgy appeal. Essentially, if there’s a theme that’s hot at any specific time, exploitation films take it and crank it up to eleven. Art the Clown in Terrifier 3 Think of them as the renegades of cinema... Unafraid to shock, scandalize or entertain by any means necessary. They’re more like experiences; they’re designed to be brash, bold and unforgettable. “I only have one favor to ask of you tonight. If some of you could throw up or faint, that would be great (laughs). No, really. Enjoy the movie and… I hope you vomit!”, Director Damien Leone at the European premiere of Terrifier 3, SITGES festival 2024. Exploitation cinema traces back to the 1920s and ‘30s when filmmakers were working outside Hollywood’s strict moral codes and standards. However, the genre really took off in the ‘60s and ‘70s, where a more relaxed production code and the rise of drive-ins and grindhouse theaters created the perfect space for over-the-top content that mainstream studios wouldn’t dare to produce. This boom gave birth to countless subgenres, each with its own gimmick, like blaxploitation , zombiesploitation and sharksploitation among them. And they are still popular today! Just look at the wave of shark movies since Jaws  (1975): the Sharknado  franchise, Sharktopus  (2010) and 5-Headed Shark Attack  (2017), to name just a few. “The low costs of production allow for quick turnarounds, enabling the exploitation film to address issues of high topicality. This also gives the films a ragged and rickety look that often fits the marginality of their topics”, Ernest Mathijs , Professor in Cinema and Media Studies at the University of British Columbia, who researches cult film, genre cinema, David Cronenberg and European horror. However, while classic exploitation was low-budget, raw and risky, modern exploitation takes the genre’s core thrills and (sometimes) dresses them up with big budgets, high-end effects and top-tier actors. Today’s “-ploitation” cinema comes in all shapes and forms, but always taps into the same adrenaline and spectacle. This is the case of, for example, the Fast & Furious  franchise which has taken carsploitation  to blockbuster levels, turning street racing and absurd stunts into an international phenomenon. Have you heard of hagsploitation ? It's a 60s subgenre of horror that casts older women as violent or mentally unstable villains. A recent example is The Substance  by Fargeat, though it’s a fine line to walk. And what about superhero movies? If exploitation films are defined by the relentless and exagerated focus on a specific theme, then sup’ movies are undoubtedly in the realm, even if they’re no longer low-budget productions. Originally, these were campy, crime-fighting flicks with capes and catchphrases. But today, Hollywood has squeezed the superhero as much as it can, leaving audiences on the verge of burnout. However, there’s a (kind of) new sup-sploitation that finds fresh life in shows like The Boys  and films like Deadpool   & Wolverine (2024) or The Suicide Squad (2021 – the James Gunn one), where superhero clichés are twisted with intense violence, dark humor and subversive themes, tapping right back into the essence of what makes an exploitation movie. King Shark from Suicide Squad | ©Warner Bros Now, we can’t talk about exploitation movies without mentioning the horror genre, which thrives on testing limits, serving up blood, guts and terror to keep audiences cringing (and coming back for more... surprisingly). Enter splatter, aka gore-sploitation, where the rule is more blood, less mercy. Think The Texas Chain Saw Massacre (1974), the Final Destination franchise and, more recently, Terrifier ... all films that got very  creative with their kills. Terrifier , especially, gave us Art the Clown, a villain as memorable as Freddy Krueger or Jason, with his own creepy, silent vibe and a twisted imagination for disturbing deaths. "I wanted to create special effects that would be new, fresh and different from what we've seen in slasher movies. I wanted something gross and gore. So I took inspiration from real medieval torture images", Damien Leone, director and SFX artist at SITGES. But directors can also dive into regional flavors with ‘country-sploitation’ films. Or haven’t you heard of Mex-ploitation ? That’s exactly what Robert Rodriguez did with his movies, bringing an all-Mexican flavor to gritty, action-packed stories. With films like El Mariachi (1992) and Machete (2010), Rodriguez infused his work with Mexican culture, exaggerating familiar tropes (guns, outlaws and larger-than-life antiheroes), while giving audiences pure, high-octane entertainment. The same happened with Mad Heidi  (2022), a Swiss-ploitation movie that used every bit of Swiss cheese to create bizarre, fun and explosives deaths. It’s a perfect example of how cultural clichés can be dialed up for maximum entertainment. So, in the end, what is an exploitation movie? If we summarize it, these films are all about amplifying one element (gore, sex, action or cultural tropes) to extremes, aiming to shock, thrill and/or entertain a niche audience. Ever-evolving, exploitation cinema may often be low-budget, but it seems it's become a versatile beast with codes that apply to films of any scale. So, whether it’s an indie gorefest or a superhero splatter-fest, exploitation proves that no matter how much cinema changes, there’s always an audience ready to laugh, gasp and cheer at on-screen extremes... All in the name of a wild ride.

With the new Nosferatu hitting theaters (which we haven't seen yet) and a confirmed reboot for Buffy the Vampire Slayer , we thought it'd be fun to look back at some vampire interpretations or variations that stuck with us over the years. Now, a bit of disclosure first: this is a personal opinion, and while vampires come in all shapes and sizes, we seem to find ourselves drawn to those that lean more into body horror and monster design, with cool stories to match. Forget the sparkling sun-resistant centenary dating teenagers; these are the ones that made us remember why these blood -sucking creatures were meant to terrify us in the first place.   THE ANGEL (MIDNIGHT MASS, 2021)  Set in a small, isolated island community, Midnight Mass  explores themes of faith, death, and how belief shapes our understanding of the world. In this series, Mike Flanagan reframes vampire mythology through a deeply Catholic lens, where (almost) every vampire trope finds its biblical mirror: communion becomes literal blood drinking, resurrection becomes vampiric rebirth and eternal life becomes less a blessing than a curse. Even the burning sun takes on apocalyptic meaning, straight from the pages of Revelation. "[...] The fifth, since you asked, the fifth bowl of god’s wrath plunges the world into darkness... which won’t be an issue for you, or Monsignor, will it. Why it’s almost as if God is preparing you. For that", says Bev Keane, the antagonist and arguably one of the best villains since Dolores Umbridge. After all, it seems angels and vampires have very much in common. It just depends on how you look at them. FLESH PHANTOMS (AHS: DOUBLE FEATURE, 2021)   The "untalented" | ©FX What if vampirism came in pill form? That's exactly what American Horror Story (AHS)  gave us - a black pill that turns struggling artists into creative geniuses... with a bloody catch. These vampires aren't cursed by supernatural forces but by their own ambition. The show uses vampirism as a metaphor for addiction and the price of fame. However, the pill only works on those who have talent. If you lack that creative spark, it transforms you into a flesh phantom. A feral, hobo-like creatures. Always thirsty, never satisfied or employed. These pale figures stalk the streets dressed in signature black coats with exaggerated shoulders, very much reminiscent of Nosferatu himself. “Those things you see haunting around town, they took the pill, but they’re just hacks, wannabes, dreamers”, Austin Summers, aspiring writer in the series. We must confess, Ryan Murphy's take on vampirism hits uncomfortably close to home, giving us a surprising spin on vampire mythology. THE REAPERS (BLADE II, 2002) Blade II | ©New Line Cinema We can’t talk about vampires without mentioning Blade II , the second installment in the Blade  series and the first superhero Marvel movie ever (and yes, thanks Deadpool for finally bringing him back into the cinematic universe!). Directed by Guillermo del Toro, it brought a fresh, monstrous twist to the genre. And no, we’re not here to talk about Blade himself, the black, sun-resistant vampire hunter, but about the Reapers: an evolved strain of vampires who prey on their own kind. Their signature split jaws , created through a mix of practical effects and early 2000s CGI, became instantly iconic .  Admit it, you couldn’t look away, even if you wanted to. MARCUS CORVINUS (UNDERWORLD: EVOLUTION, 2006) Made with practical make up, but CGI wings | ©Screen Gems The Underworld series gave us a complete lore with leather-clad warriors and amazing creature design for both vampires and lycans alike, straight from the mind of the amazing Patrick Tatopoulos . But it was in the second movie, Underworld: Evolution , that the universe was taken to a whole new level with the first vampire of them all: Marcus Corvinus. The first impression of him is exactly what you want it to be: a terrifying man-bat who uses his wings as harpoons to actually impale his victims.  It's just… freaking cool. “I think the take we have on this, is that we need to see some practical stuff. Even if aspects of them is turned into CGI we need to make sure we always have something real on camera. It’s more believable”, Tatopoulos. THE INSECT-LIKE PREDATORS ( PRIEST , 2011) Set in a post-apocalyptic world where humanity lives in walled cities under the control of the Church, these vampires represent a radical departure from tradition. Unlike the aristocratic bloodsuckers we're used to, these creatures are eyeless, sleek and subterranean. They evoke primal, animalistic terror, functioning more like a hive of predatory insects than traditional “guys in suits”, as explained by visual effects supervisor, Jonathan Rothbart, in an interview with FX guide . And they didn't stop at one type - there were hive guardians, drones, and even a Queen, each with their own design. “We wanted to keep them close enough to a human design so they are similar, but far enough away to where there can never be a person inside a suit”, Rothbart, VFX supervisor, featurette . The solution? Making them fully CG creatures. For some scenes, they used stand-ins and then replaced them with digital monsters (like they did with Davy Jones ), allowing these vampires to move in ways that would be impossible for any human performer. All in all, vampires endure because they are endlessly adaptable . Whether rooted in elegance or monstrosity, their lore offers infinite opportunities for reinvention. These five examples show how creative storytelling, design and innovative filmmaking can turn even the most familiar creatures into something new and unforgettable. And we'll see which kinds of blood-sucking creatures the future holds for us. And you, what is your favorite kind of vampire? Let us know in the comments.

"They were so preoccupied with whether they could, they didn't stop to think if they should", Dr. Ian Malcolm, Jurassic Park, 1993 Three decades ago, Jeff Goldblum's character warned us about the dangers of resurrecting dinosaurs, a warning that, ironically, now applies to Hollywood's fascination with resurrecting its own icons. While digital resurrection isn’t new, advances in CGI, AI and deepfake technology have made bringing actors back from the dead disturbingly easy. So, let’s dive into this practice! WHAT IS DIGITAL NECROMANCY? Digital necromancy refers to the practice of digitally resurrecting deceased performers through CGI and/or AI, enabling them to perform in roles and scenes they never filmed or even speak lines they never uttered. This isn’t about recycling old footage anymore; it’s about creating entirely new performances. “Coined in an article in  The Guardian , digital necromancy is the posthumous resurrection of digital images of celebrities and actors; they walk, they talk and – most exciting for advertising execs and studio heads – cash registers ring when the death knell tolls”, The New Daily . When done well, it can be well received, as in Furious 7 , where Paul Walker’s unfinished scenes were completed using his brothers as body doubles. The result? A heartfelt farewell that honored the actor. Weta FX breakdown on how they recreated Walker for the movie But the practice often lands in the “should we” zone. Take Audrey Hepburn, brought back more than a decade after her death in 1993 to... sell chocolate in a 2015 TV commercial. The CGI was well-executed, and while some accepted it as a nostalgic nod, reactions were still mixed. Contrast this with Bruce Lee’s resurrection to sell alcohol , which sparked outrage for two main reasons: for using his image in a commercial but also because Lee famously didn’t drink. NOT NEW IN THE INDUSTRY, BUT THE RULES ARE CHANGING Resurrecting deceased actors has often been driven by necessity. A way to complete a film after tragedy strikes, as seen before with Paul Walker. The first use of CGI to resurrect an actor seems to be with Brandon Lee, who in 1994, died on the set of The Crow  due to a prop gun accident. According to Collider , the production was nearly complete, needing only 30 seconds of footage from the actor to wrap. To finish the film, the team turned to CGI, digitally superimposing Brandon’s face onto a body double for the remaining scenes. “When the accident occurred, it was unbearable and the first reaction was: we can’t go on. But the performance itself was done and I felt compelled to finish this work as a legacy to Brandon”, Edward R. Pressman, producer. This marked a historic turning point in filmmaking. For the first time, computers were used to recreate a performance posthumously, setting the stage for what we now call digital necromancy. However, today’s digital resurrections are no longer about necessity. They are a creative choice . James Dean, who died in 1955, was controversially cast in Finding Jack (now cancelled), a Vietnam War drama. Director Anton Ernst defended the decision, saying, “We searched high and low for the perfect character… and after months of research, we decided on James Dean”.  In another upcoming project, Back to Eden , Dean’s digital likeness will lead a sci-fi journey across America, further showcasing how technology now allows filmmakers to use iconic stars purely for their nostalgic and cultural appeal. “If the dead – or rather, their digital clones – are damned to an eternity of work, who benefits financially? And do the dead have any rights?”, BBC Rook in Alien: Romulus | ©20th Century Studios A similar debate surrounds Ian Holm’s return in Alien: Romulus . Digitally recreated to play Rook, a new synthetic, Holm’s mix of animatronic with CGI likeness prompted divided opinions. Director Fede Alvarez acknowledged the challenges, admitting in Empire  that the CGI had to be “fixed” for the home release. But the controversy isn’t about technology’s capacity to do it realistically or not. The real question is: Was Holm’s return even necessary, or was it simply digital necromancy for nostalgia’s sake? Adding to the debate, the BBC explains that agencies like CMG Worldwide are leading the charge in managing the digital legacies of deceased stars. These companies broker deals for digital resurrections, ensuring estates are compensated. VOICE RESURRECTIONS: A FRENCH CONTROVERSY But AI can do more than recreate faces, it can bring voices back too . Like when James Earl Jones signed over the rights to Lucasfilm for AI to recreate Darth Vader’s Voice. Well, the latest controversy is about the French dubbing of Sylvester Stallone’s film Armor , which was done using AI to recreate Alain Dorval’s voice, as he passed away in early 2024.  “AI doesn’t replace the magic of human creativity—it opens new doors for it. Recreating Alain Dorval’s voice is a chance to show how technology can honor tradition while creating new possibilities in film production”, Eleven Lab’s CEO Mati Staniszewski for Variety . The public wasn’t convinced. When the trailer dropped, fans criticized the voice for lacking Dorval’s warmth, as reported by Paris Match . Even more, Dorval’s daughter revealed that her consent had only been for a test, not for the final release. The backlash highlights the pitfalls of AI recreations: even with consent, there’s a fine line between tribute and exploitation. THE MALCOLM MEASURE OF CREEPINESS: A STARTING POINT In the absence of apparent formal guidelines, creators like Pentex Productions on YouTube have tried to bring order to the chaos. In their essay, " A.I. See Dead People ",  they propose what they call the "Malcolm Measure of Creepiness," a framework inspired by Dr. Ian Malcolm’s iconic warning from Jurassic Park . Here’s how it works. The framework assigns a score from 0 to 25 - the higher the score, the creepier (and less ethically sound) the digital resurrection is - based on four key factors: Time Since Death : Resurrecting someone recently deceased scores low (0-2 points), while decades later maxes out the creepiness at 5. Connection to the Role : Completing a known role scores low (0-2 points), but creating a new, unrelated performance scores 5. Consent : Direct consent from the actor scores 0, family consent 3, and no consent at all maxes out at 5. Technology Used : Recycled footage scores 1-2, while full AI/CGI recreations hit 5. A total score above 15 lands firmly in the "yikes zone", according to the framework. And here's the kicker - if it's for an advertisement, add an extra point for pure commercial exploitation. While the method isn’t official, it’s a practical starting point for understanding why some recreations feel respectful (like Paul Walker in Furious 7 , scoring 0-5) and others cross the line ( Alien: Romulus ' Ian Holm hitting 11-17). CAN WE, SHOULD WE? The "Malcolm Measure" reminds us that it’s not about the technology itself but about intent. Are we honoring an actor’s legacy or mining nostalgia for profit? Why not work with new actors? Recast? Create something different? While technology advances way faster than we can evolve, we - mere homo sapiens that we are - struggle to keep pace with its implications, may they be ethical, moral, psychological and more! Because it's not only the icons who will digitally come back from the dead. It's also loved ones and even Jesus (if you want an article about it, let me know in the comments!). So, again: should vs. could.

Even though modern cameras are more advanced than ever at filming in low light, capturing "the night" arguably remains one of the trickiest challenges in filmmaking. Because, when you're filming night scenes, it’s not only about the technical hurdles (grainy footage, complex lighting setups and extra hours) but about capturing the right feel for your film. The vibe  you want to have. How dark? How dreamy? How much visibility do you want? “What you see with your eye doesn’t look the same when you try to capture it on film. You have to expose the film at a certain ratio for it to react in a certain way but that is not the same way you react to it in real life”, Jarin Blaschke, Nosferatu’s DP. To illustrate this, let’s explore how some directors, working closely with their cinematographers, have crafted night scenes that perfectly fit their story. But before, let’s first understand... WHY IS FILMING NIGHT SCENES HARD TO GET RIGHT? Night shoots require either actual nighttime filming or day-for-night techniques, where scenes are shot during the day and manipulated in post-production to look like night. Lighting the house of Nope, during the night | © Universal Pictures Each approach has its own pros and cons: Shooting at night requires high-powered lights while maintaining a natural feel. It also requires extended hours and increases costs due to lighting equipment and crew requirements (Studio Binder even made a whole article  on how to survive a night shooting). Day-for-night shooting, on the other hand, demands precise exposure control and color grading to avoid unnatural-looking shadows, among other concerns. But it’s often the chosen technique particularly when you have to film vast landscapes, where lighting is just not viable. A tip from cinematographer Hoyte van Hoytema: Day-for-night works best when the light source is behind the subject (backlit), rather than shining directly at them (frontlit). In both cases, ensuring actor visibility  while keeping the scene dark enough to feel real is a constant balancing act. Skies are the biggest giveaway when filming day-for-night, often necessitating sky replacements in post. VARIOUS APPROACHES TO NIGHT SCENES "Nosferatu" (2024) As with all his previous films, director Robert Eggers once again teamed up with cinematographer Jarin Blaschke  for Nosferatu . And, much like in The Lighthouse (2019)  and The Witch (2015) , Blaschke’s lighting approach remained consistent: highly motivated and naturalistic , even in night scenes, where he sometimes relied on a single candle to illuminate the space. “I’m creative, but in lighting I tend to be a little bit literal. There’s a fire in the room, I’m just gonna chose where the fire is gonna be and then embellish it (...)”, he told Variety . “If I want some more, I’ll put some mirrors and I’ll multiply the source”. So, to bring Nosferatu ’s night scenes to life, Eggers and Blaschke leaned on techniques from their previous films, including custom filters  that create an almost monochromatic black-and-white aesthetic, without actually being black-and-white. “I used a filter to eliminate all yellow and red light as well as most of the green. What was left was mostly blue, which made everything look a certain way. In shooting, I’m just trying to recreate the same wavelengths that your eyes would see under those conditions”, Blaschke on Focus Features . For his take on this new version of the iconic vampire movie, Blaschke was nominated for Best Cinematography at the Oscars 2025 . "Nope" (2022) To film some of the night scenes in Nope , the filmmakers used a new approach to the day-for-night technique: infrared cinematography . Instead of faking night entirely in post, cinematographer Hoyte van Hoytema  developed a method that allowed him to create believable, visible night scenes in vast outdoor environments. A crucial element for the film’s horror-sci-fi tone. Infrared was something van Hoytema had previously experimented with in Ad Astra (2019) , but for Nope , he was able to push it even further, thanks to director Jordan Peele’s trust in his vision. To achieve the effect, they perfectly aligned two cameras: one infrared and the other shooting on Panavision System 65mm film. This setup allowed them to capture details that would otherwise be lost in extreme darkness, creating a natural yet crisp night feel even in the film’s massive landscapes. “You use one camera [infrared] to tell you the relationship of the light levels between everything, and then you use the other camera to gather color information and film grain and such things”, Hoytema. In depth article about it by Noam Kroll | ©Universal In post-production, the VFX team then merged the two images in a process that, according to Business Insider , is similar to how they colorized old black-and-white movies, but without inventing the colors. Much like Blashke for Nosferatu, they also wanted to capture how the eye perceives the night, including how the pupil slowly adapts to complete darkness, allowing us to see full landscape under the moonlight. “We built up a sort of fades-in that are very slow, but that simulate very much your pupil dilation”, he explains. The VFX team then filmed specific plates of practical lights by night, which were later integrated into the shots. “For me, these little things are really the cherry toppings of the cake. It completes it and sort of finishes it”, he concludes. Mad Max: Fury Road (2015) Last but not least, George Miller took inspiration from old Westerns (many of which used the day-for-night technique) and decided to shoot his night scenes entirely during the day. To do so, instead of underexposing to simulate darkness, which is what is normally done for these shots, the crew overexposed the footage by two stops . The approach was suggested by visual effects supervisor Andrew Jackson, who argued that overexposing would keep more detail while reducing noise. Though the idea needed some convincing, a few camera tests settled it. “It was solved right there ”,  Jackson told FX Guide . "This [approach] enabled me to create very graphic contrasty images with detail exactly where I wanted it, and a fall off into shadows where I didn't want it", colorist Eric Whipp, on his blog post on Lowepost . Whipp then transformed the footage in post-production, adding a high-contrast blue tint to create the film’s iconic night aesthetic. This gave the night scenes that almost surreal, graphic-novel look while maintaining clarity. A look ultimately fit for the saga. The colorist then added that " almost every D4N shot was basically roto'd and had the sky replaced to create the look. It took a few months of fiddly work, but I think the look is different and graphic". ©Warner Bros Pictures So, in the end, night cinematography is ultimately about creative problem-solving. What types of shots do you need? Is it outside or inside? Do you have a hyper-stylized look or a more realistic one? What is your budget? All these questions come into play when you’re deciding how you want your nights to feel.

Opening sequences set the tone. They introduce the mood, establish themes, and sometimes tell a story before the first scene even begins. While they exist to present the cast and crew, they’re also a chance to immerse the audience in the world of the film or series. A strong opening sequence can define a film’s identity and, if done well, linger in the viewer’s mind long after the episode ends. That’s exactly what happened with Severance . The opening sequences for both seasons were done by Berlin-based digital artist Oliver Latta ( Extraweg ) . They’re a kind of nightmare that is bizarre and fascinating at the same time. Strange. Uncomfortable. And yet, so enjoyable. Why? THE PSYCHOLOGY OF UNSETTLING DESIGN There’s a reason we can’t look away from things that disturb us. Uncanny imagery , like Latta’s rubbery faces, distorted bodies and overall weird art, triggers an emotional response. It generates discomfort that demands our attention. And ultimately, that’s the goal: to make people stop scrolling, to keep them from hitting the “skip” button. And that is what Latta does. He’s known for his eerie and often grotesque 3D animations, that subvert your expectations. His Instagram is filled with hypnotic loops you don’t really know how to feel about, but you keep watching one after the other. His unique art quickly got a lot of attention on social media and he's worked for various brands and music videos. “My aim is to provoke emotions and be different, outstanding, and innovative. [...] I take viewers out of their comfort zones and make them think for themselves”, Latta told SIGGRAPH and added “I want to provoke and sometimes confuse”. AN UNFORGETTABLE INTRO So, it’s no surprise that he was approached by Severance  executive producer and director Ben Stiller  to craft the opening title that visually embodied the show’s themes of fractured identity and corporate control. When he reached out, Stiller had no specific treatment, just the script. With only those lines of dialogue as a reference, Latta began his research and built mood boards, exploring ways to create a surreal world that left room for interpretation. It took them nearly a year to refine the vision. “I saw this guy on Instagram called Extraweg, that had this weird animation of like babies coming out of a brain and turning into jelly. And I though, this is amazing! And so, I reached out to him and he hadn’t done an opening credit sequence, but it felt like his vibe was right for the show”, Ben Stiller in the Late Night with Seth Meyers on S1. With Season 2 of Severance now also streaming, we were able to watch yet another mesmerizing opening title sequence, that got people talking. “The sequence intricately explores Mark's fragmented memories and anxieties, symbolizing his struggle to reclaim his identity”, as explained in Extraweg's website. There seems to be even a little use of AI when the goat appears and morphs, which is very well thought and nobody seems to be bothered by it (very different to the scandals from the past!). To create the sequence, Latta scanned actor Adam Scott to accurately capture his likeness. The digi-double was then manipulated (deformed, duplicated and reshaped) to visually reflect the show’s themes. For the animation, he pulled inspiration from online references but also relied on his extensive library of unpublished work, adapting existing ideas to fit Severance 's unique world, as he told It’s Nice That. BTS | ©Extraweg website THE MUSIC Of course, you cannot talk about the opening titles without mentioning the music. You see, title sequences are a bit like moody music videos. The music is as important as the images themselves. In Severance case, Theodore Shapiro  is the Emmy-award composer behind the series main title, which is “ so eerily satisfying ” that it perfectly fits with the visuals themselves. And this is true for many great intro sequences. Take Westworld , where Ramin Djawadi ’s score enhances the amazing 3D tableaux. In fact, music is so important that it can sometimes be the defining element of an intro. That’s probably the case with The White Lotus . The sequence itself is visually simple: a curated wallpaper-style montage telling a story of wealth, gossip, and treason (for S2). But Cristobal Tapia De Veer ’s strange, hypnotic score turned it into something unforgettable. At first, the music felt odd, unexpected. But by the end of the season, people became obsessed. So, in the end, what makes Severance ’s intro stand out is a combination of both elements: the unfiltered imagery of Latta accompanied with a great music that just wraps up everything perfectly. It’s something to think about for when you’re doing your intro sequence. Think beyond the usual. The best intros aren’t safe. The ones you remember are the ones that take risks. And we can help you with that.

The uncanny valley, a term that has haunted roboticists and VFX artists for decades, is experiencing a resurgence due to artificial intelligence video generators. Coined by Japanese roboticist Masahiro Mori in 1970 in an essay , it describes the unsettling sensation we feel when encountering humanoid figures that are almost, but not quite, lifelike. By Dietmar Höpfl - shockfactor_ai Minor imperfections in appearance or movement trigger discomfort or even revulsion, tapping into deep psychological responses. Why it happens? We actually don’t really know. Apparently, some even question if this is a scientific concept or not, but research is being conducted in this area. ROOTS OF THE UNCANNY VALLEY Mori’s hypothesis stems from human psychology and our innate responses to realism in representation. While exact reasons for this discomfort are debated, researchers speculate it could be due to: Violation of Expectation : Subtle imperfections in a hyper-realistic face or movement disrupt our expectations, creating a jarring effect. Evolutionary Psychology : Some theories suggest our unease arise from our ability to distinguish between alive and dead, or healthy and diseased individuals—a potential survival mechanism. Empathy Gap : We may struggle to emotionally connect with near-perfect imitations that lack a true human essence (this seems to be the case with AI video generators). “The sense of eeriness is probably a form of instinct that protects us from proximal, rather than distal, sources of danger. Proximal sources of danger are corpses, members of different species, and other entities we can closely approach. Distal sources of danger include windstorms and floods”, Masahiro Mori AI UNCANNY VALLEY It’s well-known that CGI has long struggled with the uncanny valley . But, today, we're turning our attention to AI video generators and exploring why they can be so particularly creepy... and whether that's necessarily a bad thing. First, keep in mind that recreating humans is one of the biggest challenges in visual effects. Our brains are finely tuned to recognize the subtleties of human movement and expression. Even minor inconsistencies stand out and when technology tries very hard to mimic us but doesn't quite succeed, it leaves us with that uncomfortable feeling. By Mr. Relative Usually, this has been seen as a problem to overcome. A sign that the technology isn't advanced enough (or that, you know, “ CGI is ruining movies ”!). Therefore, in VFX, we try to stray away as much from humans as we can, but sometimes… it’s just what the director wants. This gives birth to very unfortunate results, like cat-hybrids or bringing back the dead to life for a movie. A term coined as “ digital necromancy ”, according to Futurism . But I diverse. Back with AI. The tool is very good at making us think, at first sight, that it looks human. However, when you look closely , you can see six fingers or slight malformations in the images it creates. But it’s when it tries to generate movement that it becomes really bizarre, going places we’ve never really seen. This happens because AI lacks true spatial awareness. It doesn't comprehend physical space as we do; instead, it generates content based on patterns learned from vast datasets. This can result in inconsistencies, distorted perspectives or unnatural movements. By Lola.viscera To overcome these challenges, developers are working on enhancing AI's spatial awareness and motion generation capabilities. For instance, in robotics, they're training robots in digital simulations (or digital twins) featuring stairs, other robots, metahumans and obstacles, so they learn how to interact with external elements and won't be a danger when put in the real world. Similarly, in the realm of filmmaking, the aim is to imitate reality , which is why CGI has (mostly) evolved to achieve realistic results. The same is going to happen with AI video generators, with companies looking to cut costs and create cheaper and easier ads to produce. However, I believe that AI's most compelling work emerges when its uncanny and weird outputs are embraced , especially in the horror genre (but not only!). Many artists on social media are leveraging these eerie qualities to create unsettling videos that we can't help but keep watching. These are the same artists we've included here as examples for our article. By Daryl Anselmo These uncanny visuals produced with AI challenge our perceptions of reality and elicit strong emotions. This shift raises a question: Is the uncanny valley necessarily a bad thing? While many still strive to eliminate it, embracing the uncanny opens up new possibilities. As an art form, it allows creators to explore places where we would not have been able to go on our own. A realm between reality and artificiality, engaging audiences in ways that are new, fascinating and definitely disturbing. What do you think about it? By Doopiidoo

In the world of filmmaking, the synergy between visual effects (VFX) and color grading isn’t often talked about, yet it’s crucial. It's the final glaze that perfects the effects. This article explores the essential steps to ensure smooth collaboration between CGI and color grading. After all, even the most meticulously crafted visual effects can falter with missteps in grading. Furiosa: A Mad Max saga | ©Warner Bros VFX BEFORE GRADING In post-production, a workflow principle is that VFX should be done before color grading. This approach preserves the wide dynamic range of the original camera footage. In other words, working with ungraded, raw footage allows the VFX artists to maintain consistency. This means that the VFX team has greater flexibility and control, facilitating the achievement of the desired visual aesthetics. This way also provides colorists with a "raw" canvas to work with, even with the effects already integrated in the plates. “From the initial acquisition to the final composite, preserving the integrity of the original footage is paramount. When seamlessly blending live-action footage with CG elements, it is essential to work with the highest quality and widest dynamic range possible”, Richard Betts, Head of VFX at Blockhead . However, not all projects follow this sequential workflow; some may require to work in parallel. For example, in Furiosa: A Mad Max Saga, due to its heavy use of CGI, collaboration between VFX artists and colorists started early on and was crucial for achieving the hyper-stylized aesthetic George Miller envisioned . Eric Whipp , Head of Color, explains in an interview with PostPerspective  that this project necessitated a workflow that allowed to iterate quickly, almost in "real time". “As a lot of the backgrounds in this film are full-CG, we would start with a basic lighting pass and comp of a shot from VFX, then jump into the color suite and play with the look. Often we would try different skies and looks and sculpt the lighting to get it right for the scene”, he states. Once the look was green lit by the director, Whipp would send the reference back to the VFX team, who matched the effects accordingly, without undergoing numerous time-consuming iterations. “It makes it easier for VFX to move forward, as there’s a reference of where we need to end up”, Whipp adds. COLOR MANAGEMENT A common understanding of workflow and color management is crucial from the outset. The industry-standard Academy Color Encoding System (ACES)  plays an important role by standardizing color processes across different digital formats. This ensures consistent and reliable color reproduction throughout the production process. Adherence to ACES allows VFX studios to return their completed work in the same format and color as initially received, thereby preserving the integrity of the original footage. LUTs AND COLOR BIBLES Creating an early LUT for key or "hero" shots  is an effective (and important) way to provide a reference point for VFX studios. This LUT acts as a preliminary color guide, allowing VFX artists to align their work with the intended visual style of the film. Similarly, comprehensive color bibles are sometimes developed; for instance, Greg Fraiser, the Director of Photography for Villeneuve's Dune , crafted color bibles that significantly influenced the visual effects' color pipeline . As described by the American Society of Cinematographers ( ASC ), Fraiser and the assistant editor initially edited the film in scene orde to establish a visual baseline. “I took wide shots and close-ups of important scenes, put those into a timeline, and graded them to capture Denis’ vision, and my vision. [It was] just a series of images that represented our intent. During the post process, as [visual-effects supervisor] Paul Lambert and his team added backgrounds, the color bible was a reference, so they could apply that LUT to make sure it was going the way we wanted”, Greg Fraiser, Dune DOP. THE RISK OF COLOR GRADING ON VFX While color grading can enhance a film's visual appeal, it also has the potential to disrupt the harmony of CGI elements. Small discrepancies like misaligned hues or subtle changes in shadows can cause digital effects to stand out unnaturally, breaking the illusion of realism. Conversely, a skillful color grade can uplift and even salvage a visual effect. Minor adjustments like tweaking the intensity of smoke, atmospheric rays, or making slight hue shifts can all be managed directly in the color grading suite. Sometimes, the VFX studios may also propose, within the parameters of the LUT or movie bible given, a grading. One that works ideally with the effect on the shot. This is sent either as a still or as metadata. Never baked into the footage. “It happens sometimes that we need to propose a creative grade on that sequence, because it will better serve the work of the VFX artist. Obviously, we would never ever step against the created or defined look that was done between the DOP and the colorist”, confesses Christian Ganea Reitmeier, VFX colorist for DNEG, in a MixingLight podcast. IT'S ALL ABOUT ENHANCING. NOT CONTRADICTING. In conclusion, the dance between VFX and color grading is an art that defines modern filmmaking. By strategically defining where the VFX sit in the pipeline, embracing early collaborations and sticking to standards like ACES, filmmakers can end up with visually stunning shots. Done right, this alliance doesn't just enhance a film; it transforms it. It makes it captivating.

The opening scene of Final Destination 2  has left an indelible mark on those who saw it, becoming a reference point for highway nightmares. Even today, discussions about the traumatic impact of the log truck scene persist, showcasing its lasting influence on pop culture. But what makes this  scene so memorable, and how did the filmmakers achieve such a terrifying effect? ©2003 New Line Cinema First, a little context. If you’ve been living under a rock, Final Destination  is a horror film series centered around a group of people who narrowly escape a deadly disaster, only to be hunted down by death itself in increasingly gruesome (and might we say, fun and unexpected?) ways. There have been five movies so far, with a sixth, Final Destination: Bloodlines , set to be released in 2025. The log truck accident occurs in the second installment of the series, during the opening sequence where we see a premonition of everyone’s tragic death. This particular sequence captures the chaos of a massive highway pile-up, with its screeching tires, shattered glass, fiery explosions and copious amounts of splattering blood. The scene is visceral and intense, and even after more than 20 years since its release, it remains etched in viewers’ minds. “We knew at its core, the death sequences were really what people were going to see. The writers, who were twisted and sick beyond hope and reason, were able to come up with the most bizarre and yet completely interconnected ways that the characters are killed,” said producer Craig Perry. RELATABLE FEAR The scene taps into a universally relatable fear: a car accident. Compared to the first film's airplane disaster or the last film's bridge collapse, the log truck crash hits closer to home. Car accidents are something most people have experienced or witnessed , making the horror feel personal and immediate. Another interesting element is that everything is filmed in broad daylight . You see every detail, every drop of blood, wood splintering and glass shattering. There’s no darkness to hide in, neither for the audience nor the effects team. “There’s none of the mood that nighttime or darkness creates. No, we do it in broad daylight, in everyday experiences”, Eric Sears, the film's editor. And although some effects were enhanced for dramatic purposes, the stunts used real cars crashing, with actual stunt drivers, making it feel like a genuine representation of a horrific accident. SWEET BLEND OF STUNTS, SFX AND VFX Filming the sequence took the crew 11 days, and they had 7 kilometers of highway at their disposal. To make the movie as real and gruesome as possible, they followed a specific approach throughout the movie, including the log sequence. “It all comes down to some really basic concepts: shoot as much as you can practical, or get the actors on a green screen stage, or shoot as many pieces as you can practically, and then go into the computer and start mimicking reality”, Joe Bauer, VFX supervisor. However, one thing had to be CGI: the logs . As Jason Crosby, senior technical manager from Digital Domain, explains in detail in an interview with CG Channel : “when New Line started shooting the major accident in Vancouver, they discovered that real logs only bounced about an inch off the road when dropped from a logging truck. Obviously, this didn’t have the impact they wanted for a Hollywood-style crash scene”. This highlights an important aspect of CGI: it’s not just used to create things that don’t exist, but also to direct inanimate objects to behave in a way that serves the story, such as logs or superhero’s capes . Crosby even mentioned how they had to “tweak parameters” of the log simulation to give the logs that “jumping through windshields killer instinct” effect. Other digital effects were used in combination with practical ones. For instance, when a log crashes through a police car (driver included), they filmed it with a fixed log and a real car crashing into it, using a dummy filled with blood. They then replaced the dummy’s face with the actor’s and added rotation to the log for a more dynamic effect. In many cases, actors were filmed against a green backdrop and composited over the real crash scenes. Fire was also added digitally to amplify the real one and a lot of wire removal was necessary to achieve the desired results. “The physical effect had to work out with the stunt guy doing the right thing, with the right timing of the explosion”, David Ellis, director. SOUND DESIGN & ABSENCE OF MUSIC The sound design is crucial to the scene’s impact. It not only sets the rhythm of the sequence, foreshadowing what’s to come, but also immerses the audience, making them feel like they’re on the highway too. The sounds of speeding cars on a damp road, roaring engines and each character’s specific choice of music or radio channel all contribute to the familiar experience of being in a car. Then... the logs detach. Besides a soft hum at that exact moment, you’re left with gasps, screams, screeching tires, metal crunching, explosions and the sickening thud of logs hitting the road, cars and bodies. This sensory overload makes the scene unforgettable. The lack of a musical score during the carnage also amplifies the realism, forcing the viewer to focus on the raw, chaotic sounds of the disaster . When the music finally emerges at the very end, it underscores the false hope that Kimberly, the protagonist, might survive... only to have the “truck from hell” come barreling through. DIRECTOR Last but not least, having a director who understood the intricacies of action movies was crucial in cementing the log truck scene’s status as one of the most memorable car crash scenes in modern film history. David R. Ellis exemplified this with his extensive experience as a stunt coordinator and 2nd unit director, specializing in action sequences (from the SUV kidnapping scene in Clear and Present Danger  to a Quidditch match in Harry Potter) . His expertise ensured that the log truck scene in Final Destination 2  was as technically proficient as emotionally impactful. This underscores the importance of having directors who truly comprehends the task at hand, whether it's a comedy, an action movie, or a VFX-packed sci-fi epic . So, now you know! If you’re ever trying to create a scene with similar elements, don’t hold back. Use every tool at your disposal : practical stunts, real fire, fake fire, makeup effects, digital effects, green screen, wires, even miniatures! If you’re unsure how to achieve this or need help making decisions, Orbitae is here to offer a comprehensive solution to create your scene in the best way possible.

In art, it's all about reinveinting what has already been made. As Pablo Picasso allegedly said: "Good artists borrow. Great artists steal" However, in the Alien  franchise, this premise doesn’t quite hold... you can't just copy what the the previous director did. That’s not how it works. The series, now spanning seven movies (not counting the Predator  crossovers), has had to continually reimagine and expand upon a lore and creature first invented in 1979. But what about its most iconic moment: the chestburster scene? How has each director managed to recreate and revitalize such a pivotal moment? Let’s explore the evolution of this scene across the Alien  saga and see how each film put its unique spin on it. The original chestburster scene | ©Twentieth Century Fox ALIEN (1979) - RIDLEY SCOTT Ridley Scott’s original Alien  introduced the world to the chestburster in a scene that has since become one of the most iconic in horror history and set the standard for all that followed. The concept originated with the film's writer, Dan O'Bannon, who suffered from Crohn's disease. Apparently, after a particularly excruciating night of pain, O'Bannon conceived the idea of a creature violently erupting from a person’s body. A metaphor for his own suffering. Alien's script The jump from script to screen was no easy feat, starting with the design of this version of the creature, up to the logistics of the scene. Bringing the chestburster to life required four takes and nearly 23 liters of fake blood . The terror was also amplified by the actors' genuine reactions. As most of them were unaware of the exact nature of the scene, it lead to real shock when the red liquid and actual animal guts sprayed across the set. Additionally, Scott carefully structured the film so that we had to wait over 50 minutes to catch the first glimpse of the alien, making the chestburster scene unforgettable to this day. Ridley Scott draws his own storyboards, know as "Ridleygrams" If you want to have a more in-depth understanding on how this scene was brought to life, check out this video ! ALIENS (1986) - JAMES CAMERON Terminator’s director took a different approach in Aliens , shifting the franchise towards action while retaining its horror roots. The first chestburster moment in this film is implied through a nightmare sequence, where Ripley (Sigourney Weaver) dreams of the creature emerging from her chest. This scene deepens Ripley’s PTSD from the first film and taps into the audience’s lingering fear. By not directly recreating the scene, Cameron preserved the impact of the original while building tension in a new, psychologically driven way. Nightmare sequence | ©Twentieth Century Fox But Cameron didn’t entirely shy away from a traditional alien chestburster moment. Later in the film, when Ripley and the Marines enter the alien hive, they discover a woman cocooned and begging for death, moments before a chestburster erupts from her. This scene is brief but significant for the characters in the movie. It's a reminder of what happens when you get facehugged. ALIEN³ (1992) - DAVID FINCHER David Fincher’s Alien³  introduced a new twist by having the chestburster emerge from a different host: an animal. In the theatrical release, it bursts from a dog, while in the special edition, it emerges from an ox. This adaptation expanded the Xenomorph mythos by showcasing the creature's ability to adapt to its host. The result is a variant known as the " Runner ", characterized by its agile body, which allows it to move on all fours and, oh, it can spit acid from its mouth too. Unlike the small, pale, elongated versions of chestbursters seen before, the Runner emerges almost fully formed, with distinct traits inherited from its host. Which version did you see, the dog or ox? | ©Twentieth Century Fox However, in the theatrical ending , Alien³  also gives us a human chestburster moment, this time with none other than Ripley herself. In the film's climax, having been impregnated with a Xenomorph queen embryo, she sacrifices herself by jumping into a furnace. As she falls, the alien bursts out of her, but she holds it close and ensures that both she and the creature are destroyed in the flames. It's Ripley's finale. ALIEN: RESURRECTION (1997) - JEAN-PIERRE JEUNET  Because "we've seen it all before", Alien: Resurrection  brings a darker, more aggressive and intentional use of the creature . Near the climax of the film, Purvis (a kidnapped civilian who was part of Dr. Mason Wren's breeding project) knows the chestburster inside him will soon emerge and kill him. Seizing control of his final moments, he grabs Dr. Wren and forces his head against his chest, ensuring that the chestburster will kill both of them. This scene gives the host a sense of agency, turning the moment into a weapon and adding emotional intensity to the traditional chestburster horror. It's chaotic, messy, and... surprising! PROMETHEUS (2012) - RIDLEY SCOTT While there isn’t a traditional chestburster scene in this movie, there is a harrowing moment reminiscent of it: a forced abortion . This occurs when the " Trilobite ", a parasitic alien, is surgically extracted from Dr. Shaw’s (Noomi Rapace) body using an automated surgical pod. Unlike the familiar chestburster, the Trilobite has a more primitive, squid-like appearance. This design choice was intentional, highlighting the creature’s role as a precursor to the Xenomorph. More squid like. More aquatic. The scene mirrors the horror of the original chest-bursting moment by exploring the concept of alien life taking root inside a human. Abortion sequence | ©Twentieth Century Fox ALIEN: COVENANT (2017) - RIDLEY SCOTT  Returning to the franchise, Ridley Scott had the laborious task of reimagining something he had created decades before. While he avoided to do it in Prometheus , he brought it back in Alien: Covenant and, this time, it happens twice. The first instance is a variation though, more of a “backburster”. When a crew member becomes infected, his back begins to burst, crack and break apart during a medical exam, ultimately giving way to a Bloodburster  that emerges, complete with its placenta-like sac and all. Yes, that scene is gruesome. Later in the film, there’s a recreation of the classic chestburster scene: a man lies on his back, choking as an alien breaks free from his chest, tearing through his T-shirt. The diffrence is that the alien that emerges from the dead body is fully formed, resembling a miniature version of the Xenomorph. Also, in contrast with the scene above, the tone here is more, let’s say "cute", for lack of a better word, rather than horrific, as it depicts David (the android, played by Fassbender) proudly watching the culmination of his work. Even the music is calmer, almost soothing. ©Twentieth Century Fox ALIEN: ROMULUS (2024) - FEDE ÁLVAREZ  Last in the list is the recently released Alien: Romulus , which doesn’t shy away from this now well-rooted body horror moment of the franchise. It delivers a full, classic chestburster scene with brutal realism, blending the practical effects of the 1970s with all the tropes of modern horror. In this case, the young pilot Navarro gets face-hugged and then chest-burst pretty quickly, just as we might expect. However, this time, there’s no shirt in the way. This time, we see the alien literally bursting out of Navarro’s chest, with ribs cracking and skin ripping off. "I approached it as if it was a nature documentary. The direction I gave the puppeteers was stuff like, ‘The baby looks for the scent of the mother now,’ and so it raises his head to do that. That just makes it way more realistic", Fede Alvarez, for Entertainment Weekly In conclusion, each chestburster scene across the Alien  saga has built upon the terror of the original, adapting to the times and the evolving expectations of horror fans. Whether through the introduction of new lore or ways to use special effects, these scenes have remained a central element of the franchise's appeal. Which one did you prefer or which one did you see first? Let us know in the comments!

Have you seen The Substance ? You know, Demi Moore’s new movie? Got a standing ovation  in Cannes? Well, it’s… let’s say surprising. We walked in with little information, only to find a highly stylized film, beautifully shot, with great sound design and some memorable scenes (though the hag- sploitation is a bit on the brink). But we are not here to talk about that. After seeing the movie, we started noticing posts and articles about all the easter eggs, references and homages scattered throughout. From Kubrick to Cronenberg and even Giallo cinema, it seems packed with deliberate nods. So, it got us thinking: when is it a copy and when is it a homage? Where’s the line? Nobody is accusing Fargeat of stealing from previous directors. Yet Tarantino, who has built his career on similar borrowings, finds himself constantly at the center of controversy. “I steal from every single movie ever made”, Quentin Tarantino, Empire Magazine 1994 SO, WHAT IS AN HOMAGE? AND WHEN IS IT CONSIDERED A COPY? Homage (noun) /ˈhɒmɪdʒ/ Expression of high regard: Respect Something that shows respect or attests to the worth or influence of another:  Tribute An homage is a filmmaker’s way of paying tribute. It's a deliberate acknowledgment of another work or artist (movie, painting, poem, etc.!). It’s an act of respect that enriches a film by connecting it to its predecessors, often adding depth for cinephiles who recognize the references. Cinema is so filled with homages, that it’s hard to keep record of it. One recent and interesting example is the opening of Barbie , which reimagines the iconic sequence from 2001: A Space Odyssey . Barbie opening scene | ©Warner Bros Copying, by contrast, lacks that transformative touch . It occurs when elements from another work are reused without reinterpretation or originality. The distinction between homage and copying can be subjective, but key factors include intent, execution and the degree of innovation applied to borrowed material. Meaning, that if you want to pay a homage, try to do it your way, don’t just recreate it plainly. Take, for example, the controversy between Jean-Pierre Jeunet and Guillermo del Toro over The Shape of Water . Jeunet accused del Toro of plagiarizing a scene from his 1991 film Delicatessen . The Mexican director simply responded by pointing out that both filmmakers owed the idea to Terry Gilliam, framing it as part of a larger chain of influence . However, Jeunet maintained in a interview with Ouest-France  that if  he ever borrowed from other directors, it was done unconsciously. "It's so copy-pasted from Delicatessen  that at some point, I can’t help but think he lacks self-respect", Jean Pierre Jeunet about del Toro. Another prime example of this debate is Quentin Tarantino’s work. His debut film, Reservoir Dogs  (1992), has been accused of plagiarizing Ringo Lam’s City on Fire  (1987), with critics pointing out that the last 20 minutes are almost identical. Tarantino’s Kill Bill  series also draws heavily from the 1973 Japanese film Lady Snowblood . In fact, all of Tarantino’s movies borrow heavily from other works! Left: Federico Fellini's 8 1/2. Right : Pulp Fiction by Tarantino ENTER PASTICHE To complicate the discussion even further, let’s talk about pastiche, a technique that blends multiple references into a single work . Think of it as a collage of inspirations, stitched together to create something entirely new. “What makes Tarantino so special is that he never steals from one source. He rather steals from multiple sources spanning decades and then stitches them together to create something new. It's a technique known as pastiche, a vital element in postmodernism”, Business Insider This idea of combining numerous references to form a patchwork of influences applies not only to Tarantino but also to del Toro, who is always open about the various inspirations behind his stories. Naturally, it also suits our case of interest: The Substance . To show you what we mean, here are four standout homages Fargeat makes in her movie: ATTENTION: SPOILERS AHEAD (if you haven’t seen the movie, stop reading now!) The Shining Kubrick’s The Shining  casts a long shadow over The Substance . Demi’s “Wall of Successes” features a geometric carpet pattern that recalls the iconic flooring of the Overlook Hotel. But the parallels don’t stop there: the same corridor drenched in blood evokes the elevator scene. Certain shots of Demi’s character also mirror Jack Torrance’s shots. And what about the Red Bathroom? Or the old hag nod with hanging boobs? It seems the references to this movie are endless. The Fly Cronenberg’s The Fly  influences The Substance  in a more thematic way. And Fargeat hints at it early in the movie. It happens in, arguably, one of the most grotesque scenes (at least for me), where Demi’s character is being callously dismissed by her boss, who’s voraciously eating shrimps while telling her she’s just too old. Then, we cut to a shot of a fly drowning in his wine... a foreshadowing of the body horror to come. Later, much like Seth Brundle, the films’ characters undergo a monstrous transformation, evolving into a creature called Monstro Elisasue. The Backburster In a scene that would make Ridley Scott proud, Demi’s character takes the titular substance and, well, a horrifying “rebirth” scene takes place. Her “other self” bursts out of her back. Reminds you of something? Yes, Alien . To be specific, Covenant . By the way, we wrote an article about how every director reimagined this scene throughout the franchise instead of just copying it. Backbuster scene | ©MUBI Carrie The film’s finale gets inspiration from Carrie . The climactic chaos ends with everyone laughing and berating the protagonist (much like in the 1976 classic) and, as you might expect, it doesn’t end well. The result is a blood-soaked spectacle, though here it leans more into gory excess. Bonus:  A 2001: A Space Odyssey  Nod As Demi’s character takes the substance, she’s plunged into a kaleidoscopic tunnel of colors, that immediately reminds you of the iconic “Stargate” sequence. These are just a few of the many references in The Substance . There’s no shortage of material to dissect, but we’ll stop here and let you dig deeper for yourself. All in all, it seems that if you copy visually (hum hum, sorry, pay homage), it’s OK. Because, in the end, when you try to reinterpret an idea, through your own creative process and with your own themes and concept, it transforms into something that’s yours, all while tapping into something that already has meaning, thus creating a new meaning overall. That being said, never ever   shy away from acknowledging your influences.  After all, we all start by recreating what inspires us. That’s how art works. That’s how it evolves. And that’s how classical art stays alive. What do you think? Where’s the line between inspiration and imitation?

Remember that guy who jumped from the Titanic as it was sinking, only to collide with the propeller and spiral down into the icy water? Or how Spider-Man can flip through the air with gravity-defying agility? Ever wondered how they did it? The answer lies in digi-doubles, lifelike digital replicas of actors used to pull off scenes that are too dangerous, complex or downright impossible to film with real people. Rodeo digi-doubles breakdown for Stranger Things 4 While it might seem like the domain of superhero blockbusters, digi-doubles have been quietly revolutionizing all kinds of films since the 90s. But what goes into making a digi-double, and why have they become such an essential tool in every filmmaker’s storytelling toolkit? WHAT IS A DIGI-DOUBLE? A digi-double is a digital recreation of an actor, crafted to replicate their appearance, movements and even facial expressions. The process typically begins with 3D scanning the actor to capture their likeness in detail. This data is then used to build a realistic 3D model, which can be animated using motion capture or other techniques to mirror the actor's performance. This digital counterpart can then be integrated into live-action scenes, making it appear as if the actor is performing feats without you even knowing it (when it’s well done). The first time, it seems, that a digi-double was used in a film, was in Batman Forever (1995), with cape and all. But why go to all this trouble? Digi-doubles offer filmmakers a way to tackle scenes that would be too dangerous, expensive, impractical or impossible to shoot with real actors. WHEN TO USE DIGI-DOUBLES? Digi-doubles have become a go-to tool in blockbuster action filmmaking, especially with the rise of superhero movies. For example, Spider-Man's swings through New York City are performed by a CGI double because, well, you know... Spidey things. But it's not only about the stunts. When Spider-Man made his first appearance in Captain America: Civil War , what audiences actually saw was a digi-double, even in dialogue scenes. Lengthy negotiations and Tom Holland’s late casting, which happened months after filming had already begun, necessitated the use of a digital stand-in to integrate the character into the story, according to VOX . So, they aren't just for action, they're also very helpful under tight deadlines and unexpected challenges . Vox : showcasing how digi-doubles enhance position Another reason to use them is to enhance a character's pose, silhouette and/or movement , especially when aiming for a comic book vibe or creating a gruesome effect. In horror movies, they are particularly valuable for violently killing or "breaking" characters, as was done in Stranger Things 4 . However, digi-doubles aren’t limited to superhero or supernatural scenarios... they're also used in more grounded settings. For example, in Titanic , they were key to convey the massive scale of the ship and the violence of its sinking. They were used not only for the main actors and stunt scenes but also to populate the ship with hundreds of passengers. A more recent use comes from David Fincher’s The Killer  (2023), where a digi-double was employed during a scene in which the protagonist, played by Michael Fassbender, narrowly escapes through the streets of Paris after a botched hit. The decision to use CGI was done because the result of shooting in a virtual set didn't live up to the expectations. Sometimes, digi-doubles can be a last resort. In Furious 7 (2015), for example, after Paul Walker's tragic death, his brothers stood in as body doubles and a digi-double was used to complete his remaining scenes, allowing the film to preserve the character’s storyline. Digi-doubles are also useful for de-aging or aging actors, as seen in The Curious Case of Benjamin Button , where Brad Pitt’s face was digitally recreated for most of the film. Additionally, they can be invaluable for creating specific crowds, like in season 3 of The Handmaid’s Tale , where thousands of handmaids were digitally replicated. Leo Bovell, VFX supervisor at Mavericks VFX, described the challenge in an interview with Befores and Afters : “One of the more challenging parts of the sequence was our digi-double handmaids. In total we had approximately 22,000 plus digi-doubles”. The Handmaid's Tale | Befores & Afters Maverick breakdown DIGI-DOUBLES FOR INTERACTION Another use of digi-doubles is to facilitate interaction with CGI elements. In this case, they don’t need to be exact replicas of the actor but are instead used to simulate how CGI elements (such as fabric, snow, water, fire or debris), would interact with a human body. By creating a digital stand-in that matches the actor’s size, shape and movements, VFX artists can ensure that the CGI reacts naturally, like a gun melting onto a man's hand because of Homelander's X-rays. THE UNCANNY VALLEY While digi-doubles offer a wide array of possibilities, they also come with the risk of falling into the " uncanny valley ", a term used to describe the eerie feeling audiences get when a digital human looks almost, but not quite, real. This discomfort can break the viewer's immersion, making them acutely aware that they are watching something artificial. A notorious example is the CGI baby Renesmee in Twilight: Breaking Dawn – Part 2 , where the VFX artists faced the challenging task of creating a baby that resembled the child actress, using photos of her to replace a real baby on screen. “We’d realign the posture of the baby to be more self-aware. […] Next step in that process was the eyeline. We’re doing CGI eyeballs, because you cannot say look to the left or right to a baby. So, we controlled the eyeline with CG eyeballs”, Edson Williams, VFX Supervisor at Lola. Nicolas Cage's brief appearance as Superman in The Flash  (2023) and the digital recreation of Luke Skywalker in The Mandalorian  faced the same problems. This is why digi-doubles tend to work best with masked superheroes or helmet-wearing characters, as it’s easier to convincingly recreate fabric rather than skin, although, as we have seen, not impossible. So, in the end, digi-doubles have become an integral part of modern filmmaking. They offer solutions to a wide range of challenges (from executing complex stunts to filling out large crowd scenes), across various genres . Their use ensures safety and continuity when real-life limitations arise. Now, if you need a digi-double for your production, Orbitae is here to help you with it.

It’s been almost 20 years since the Pirates of the Caribbean: Dead Man’s Chest  hit theaters, and yet Davy Jones’ slimy, tentacled face still looks better than many modern CGI characters. Why? This is a question that many have asked us. Why does this character still look so good? Why modern characters don’t hold up even when technology clearly has advanced? Why? But why though? | ©Disney And, indeed. Why does the captain of the Flying Dutchman   still reign supreme in the world of CGI characters? The short answer seems to be a series of smart decisions stacked one on top of the other. Here are a few of them for you to think about for your next idea. A CHARACTER THAT JUSTIFIES CGI Davy Jones is a character that makes sense  as a CGI creation. This is something CGY pointed out in their analysis and we completely agree. Jones’ design includes a beard of 46 tentacles, each moving independently, which would’ve been a nightmare to achieve with animatronics or prosthetics. And this wasn’t done just because it looks cool. Au contraire... it’s integral to the narrative. They play the organ, hide the key to the Dead Man’s Chest, kill people and even give important cues about how Jones feels. Davy Jones using his tentacles | ©Disney Now compare that to other CGI-heavy characters like Azog from The Hobbit  or even Thanos. Both have few unique traits beyond their height that require them to be CGI. After all, the Lord of the Rings  (LOTR) franchise is known for its clever tricks to create the illusion of size. Techniques like forced perspective convinced us that hobbits and dwarves were smaller than humans, without relying on CGI. So, why not do the same with Azog? I mean, the Uruk-hai in the original trilogy were brought to life with makeup and they’re still fan favorites. More often than not, for a main character like that, a blend of both make-up and CGI creates the perfect balance for selling the illusion to audiences. Though, we must admit, this also comes with its own challenges, as seen with the extensive enhancements needed for Red Skull in Captain America . And this isn’t just about fully CG characters. Even replacing a limb, like a robotic arm, deserves the same scrutiny. Ask yourself: What does it bring to the narrative ?  Can the character do something extraordinary with it or does it add to the story thematically? In the end, if a feature isn’t inherently tied to CGI, like a tentacled beard with narrative importance, why go through all the trouble? HALF-HUMAN, HALF-SEA MONSTER Humans are wired to recognize imperfections in other humans. If a CGI character isn’t perfect, our brains pick up on it instantly. This is when you fall into the “ uncanny valley ”. In this case, Davy Jones’ design is great because it walks the line between human and sea creature. Davy Jones | ©Disney His eyes, eyebrows and mouth remain human, allowing for nuanced expressions and it lets the audience connect with him. But a tentacled beard? We don’t know how it looks like in real life. Never seen one. So, we have no way to compare it to something else. This means it’s easier for us to accept it as a character that actually exists and is not digitally created. He's human enough to empathize with, alien enough to accept it as a “real” character. MOTION CAPTURE AS A FOUNDATION Motion capture ( mocap ) technology allowed Bill Nighy’s performance to shine through. Acting alongside his co-stars in a gray suit, Nighy delivered an emotional and quirky portrayal that animators used as the foundation for Davy Jones. But mocap isn’t a magic fix. The animation team still had to completely replace the actor with a fully CG character, as explained in Pirates of the Caribbean 2 ’s bonus feature, “ Meet Davy Jones: Anatomy of a Legend ”. “We made the decision on this film to cast actors, to play the parts and they’re in the shots playing the characters, and we’re gonna put our CG versions on top of them”, Hall Hickel, ILM animation director. To match Nighy’s performance, the animators created over 700 shapes in the CG face, from blinking eyes to raising cheeks. And that’s without factoring in the tentacles. Each one was simulated separately, with meticulous attention paid to how they moved, writhed and collided with one another. To ensure realism, they couldn’t pass through each other or behave like frictionless objects. Instead, the tentacles had to feel sticky, almost like pasta, with a subtle resistance in their motion. Still, some tentacles had to be hand-animated for specific, “directable” shots, like the moment they reveal the key to the Dead Man’s Chest. “And then the other part of it is, we’re trying to translate all of that onto a character that has an octopus on his face”, Geoff Campbell, digital model supervisor. Did you know? They put makeup around Bill Nighy’s eyes just in case CGI couldn’t pull it off. Turns out, they didn’t need it—those eyes are 100% CG! THE SKIN DILEMMA Skin is one of the toughest challenges for CGI artists. Why? Because real skin has subsurface scattering (how light penetrates and bounces around beneath the surface, creating a soft, translucent effect). Think about how light shines through your ears or when you see a glow inside your mouth. It’s subtle, but in visual effects, it’s a nightmare to replicate. Fail to do this correctly and your character can look rubbery... and this applies to both CGI and prosthetics. Davy Jones | ©Disney But ILM had more than one trick up their sleeve to overcome these challenges:   Little skin Most of his body is covered by clothing. Unlike She-Hulk or Azog, Jones’ VFX team didn’t have to worry about rendering realistic arms, legs or torsos. They focused their resources on his face and beard, where it mattered most. Reflective surfaces Davy Jones’ connection to the sea was a blessing for ILM. As a demi-god of the ocean, he’s constantly wet and reflective surfaces are far easier to render than dry skin. The reflections obscure subsurface imperfections, giving his tentacled face a more believable and polished appearance. Lighting choices Lighting is everything in filmmaking. Same goes with visual effects. Like magic tricks, you only show enough to sell the illusion. The right lighting can elevate makeup, prosthetics or CGI to the next level.  In Jones’ case, he’s often shown at night or under the harsh Caribbean sun, which naturally casts deep shadows and enhances key features. BLENDING PRACTICAL EFFECTS AND CGI Blending practical effects with CGI is always a smart move. Even if it’s not with the creature itself, it can be done with sets, costumes or other elements to create a more grounded visual experience. In Pirates of the Caribbean , practical effects played a crucial role in grounding the film’s visuals. Real ships, costumes and on-location environments gave the audience tangible elements to connect with . Take Jurassic Park  as another example. The T-Rex still holds up today because the filmmakers blended animatronics with CGI. A decision more driven by the limitations of the era, but one that turned out to be a sweet spot. For close-ups, they used an animatronic made by no others than Stan Winston, switching to CGI for full-body shots. Again, by giving viewers a “ground truth” (something real to anchor the illusion), the CGI felt more believable. Now compare that to modern blockbusters where entire environments, characters and even suits are rendered digitally. While impressive, they can sometimes lack the authenticity that come from combining real and digital elements. This is why we’re seeing more films return to using animatronics. It’s not because CGI has ruined movies, but because the blend of both worlds seems to truly sells the illusion. FINAL THOUGHTS All in all, Davy Jones’ success boils down to one thing: thoughtful choices. From his design to his integration with practical effects, every decision was made to serve the character and the story. For filmmakers today, the lesson is clear: use the right tool for the job. CGI isn’t the answer to everything (and neither is AI). Today, as filmmakers, we have more tools than ever to craft the best illusions. But we have to learn how to use them wisely. So, choose the methods that serve your story, timeline, and budget. If in doubt, send us a probe!