WHAT IS THE DIFFERENCE BETWEEN VFX & CGI ? - Arena Animation - Barasat



Visual Effects Techniques For Stop-Motion Feature: O Apostolo

Impact 1 – THE FOG

The fog is a character in the story. It is the Holy Company. It is of 3 composes and we are not at first mindful of its full power or conscious nature. At first it essentially drifts along the ground making environment and clouding separations. Later it acts with plan searching out Ramon. At last it turns into a gathering of human structures – the spirits of the considerable number of individuals the Holy Company has caught.

1. Encompassing foundation mist
2. Enlivened character mist
3. Soul mist with human structures (Santa Company – Holy Company) These fog styles ought to be outlined as still pictures (Photoshop works of art) influenced utilizing plates from the scenes where mist to will be connected.

These will be the craftsmanship course for all mist impacts. The Holy Company figures ought to be demonstrated in view of a functional figure. Photographic reference (lighting, movement, turnarounds) of this figure will be the best guide for accomplishing the coveted geometry with CGI. The movement of the fog might be hard to pre-picture however drawn liveliness will be helpful for deciding the stream and speed. A great part of the surrounding and foundation fog can be made utilizing paint layers with bending impacts (twist, whirl, squeeze, and so on.) connected to a multi-plane treatment in a compositing program. This method ought to be adequate to create a significant part of the main part of the mist all through the film.

The following layer of fog can be viably enlivened and put into particular shapes and positions with a CGI reproduction utilizing a molecule framework. This will permit the crawling fog to carry on in quite certain routes as it seeks after Ramon. This CGI fog ought to be utilized just where important for this particular conduct since it ought to be very expensive for plan, control, and rendering, particularly where changes are concerned. The 2D fog ought to be substantially more adaptable and will set aside less opportunity to modify and change.


There are numerous candles in O Apostolo. In light of their sheer numbers, monetary procedures will be basic in monitoring the extent of this errand. There will be 2 principle difficulties to accomplishing great outcomes with the candles: The primary test will be to get the correct conduct from the blazes. Light flares react to little measures of disturbance in their condition. Along these lines when somebody strolls by, or when an entryway opens or a whirlwind gets through a window, the fire typically reacts with a snapshot of shaking. Down to earth components do this consummately yet can be to some degree an article challenge when there are numerous candles in a shot – they all must move in synchronization yet with little varieties. In the event that they all move precisely together the impact will be cumbersome. On the off chance that there is excessively assortment the impact won’t persuade. Great outcomes can be refined by utilizing a library of comparable components and balancing copies of a similar fire by 1 or 2 outlines. For the number of candles in O Apostolo, an accumulation of 5 or 6 of each coveted kind of fire development ought to be adequate.

Impact 3 – STEAM

There are various shots of individuals eating in the film. Useful or recreated live-activity steam can be very powerful in a stop-movement setting. This impact is very simple and can be accomplished in composite with mono cutting edge components. CGI methods can be very simple also gave a worthy treatment re: speed, choppiness, thickness, and so forth, can be found. CGI can be less attractive if the look is slippery or if rendering ends up bulky. Impact 4 – SMOKE: There is 1 shot of a seething hill which will require a rising tuft of smoke. This ought to be a genuinely clear impact. Most likely great to separate this from the haze by ensuring the shading is observably unique.


There are some extra worries with screen substitution compose composites in stereoscopic movies. Trash mattes can have included consequences in 3D on the grounds that these will in some cases should be autonomous in each eye. It is astute to keep a nearby watch on these components as they are being shot, since settling something on set can spare numerous long periods of twofold junk matte work later.

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