Category: Design for Animation & Film

Developments in real-time ray tracing techniques are opening up new possibilities in the VFX industry and revolutionising content creation.

Hardware manufacturers are creating devices that enable new capabilities in graphics, which can be utilised in interactive gaming, TV and VR, and animation.

Ray tracing is exactly what it sounds like. The process of calculating how light interacts with objects and materials in computer generated imagery. Particularly important in situations where there is movement as every single frame a scene moves, light interacts differently with the viewers eye.

(garagefarm.net, n.d.)

Previously renders could only be completed on huge render farms, but now there is much less waiting time, and this means that design progression is faster, and higher quality lighting, reflections and shadows can be achieved, and even more realistic ambient occlusion, scattering are possible.

One example of this technology is the Turing Architecture GPU created by leading manufacturer Nvidia. This “speeds up bounding volume hierarchy traversal and ray-triangle intersection testing”
(Meister et al., 2021)

This means that multiprocessors can improve shading speed and execution without needing instruction slots for each ray cast.
In other words, the heavy lifting of ray-tracing light can be picked up by graphics hardware usually needed for real time modelling. Light is traditionally handled by the CPU due to the complexities of the calculations involved.

Turing’s tensor cores enable users to improve AI denoising, so they can create better images, and more quickly. The viewer experience is much better, in that they don’t notice the effects and ‘believability’ increases. This means that ray-tracing light can be said to be happening in “real time” as it does in the real world.

Here is a demo by Nvidia displaying the ray tracing capabilities of their GPU’s.

The rendering process now just needs a single GPU with enough memory, and even huge, intricate scenes can be handled without long waiting times.

Uses:

·       Enhances gaming experiences (eg reflective surfaces are more realistic)

·       Animation pipelines – creators can work on light geometry in real time

·       Creating believable digital humans in film

High fidelity ray tracing creates fantastic realism, but traditionally has been very time intensive. When rendering things that do not have an interactive dynamic component, such as a film or cinematic, this is not a problem. However in VR and video games there is always a dynamic component so advances in technologies that make the process more realistic in real time are very exciting.
(garagefarm.net, n.d.)

A further development of this is in combination with another new technology in the world of VFX . (LED Wall) Virtual Production is the process of using LED screens as backdrops in film sets instead of green screens. This pertains to having Realtime graphics rendered interactively with actors on a set. In combination with technologies such as Unreal Engine, realistic scenes can be used as backdrops to actors that change as needed, made possible by the developments in ray tracing capabilities.
(fxguide, 2020)

References

garagefarm.net. (n.d.). How ray tracing impressively elevated the effects of 3D rendering. [online] Available at: https://garagefarm.net/blog/how-ray-tracing-has-elevated-the-already-impressive-effects-of-3d-rendering [Accessed 27 Jan. 2022].

Meister, D., Ogaki, S., Benthin, C., Doyle, M., Guthe, M. and Bittner, J. (2021). Number 2 STAR -State of The Art Report. [online] 40. Available at: https://meistdan.github.io/publications/bvh_star/paper.pdf.

fxguide. (2020). Art of (LED Wall) Virtual Production Sets, Part Two: “How you make one.” [online] Available at: https://www.fxguide.com/fxfeatured/art-of-led-wall-virtual-production-sets-part-two-how-you-make-one/.

I have chosen to compare these two films as they are both favourites of mine with somewhat similar themes as well as stark differences. They are filmed nearly two decades apart and in two different continents, with subject matters sharing the same geographical distinction. Both loosely based on historical events, they are an interesting juxtaposition of story telling techniques that involve widely known historical events.

They are filmed predominantly for very different audiences and have unique styles and tone correspondingly. Despite this there are some interesting similarities in themes, story and plot devices.

Hero

Hero (2002), directed by Yimou Zhang, famed for House of Flying Daggers, tells the story of an assassin in pre unionised China during the “Warring States Period”.

Our protagonist “Nameless”, an extraordinary swordsman, has killed 3 assassins, who were all trying to assassinate the leader of the Qin province of China, the King of Qin. A ruthless monarch, in the process of conquering the other provinces of China, a great and dangerous enemy of the people. In light of Nameless’ deeds, he is permitted audience with the King, whom no one is normally permitted to be within 20 paces.

The King wants to hear the story of how Nameless was able to kill 3 legendary assassins.
Nameless proceeds to tell the story of how he killed each assassin. Which we are shown visually. A story of revenge and lust is described as Nameless tells of how he pitted two of the other assassins, lovers, against each other.

Due to inconsistencies in Nameless’ story the King becomes suspicious of him, and proceeds to give his alternate view of events. Which once again we are shown visually. He surmises the assassins sacrificed themselves. The King comes to the conclusion that this was all done to get within assassination distance of him.

In a final telling of events, it is revealed that Nameless is there indeed to assassinate the King. However more complexities come to light as it is shown that on an attempt on the Kings life by one of the other assasins, he changed his mind at the last second, due to his understanding that the death of the King would not lead to peace. Despite the suffering of war ultimately the King desires a unified and peaceful China. This character tells Nameless that killing the King would be an act of personal revenge, and would not bring him peace.
Nameless, who disobeys the order, in telling this story to the King, understands both the King and the other assassins decision not kill him. The King, is moved by the account and actions of the two men, and relinquishes his sword to Nameless. In the last second Nameless spares his life, telling him to unite China and drops the sword, resulting in his execution.

The story looks at the politics and history of China, delving into Chinese philosophical ideas, civility and military and sacrifice. Painted through an emotional lens.

Thematically the film is rich in symbolism and fantasy with heavy use of colour
Is is a Wuxia film which means that the fighting is unrealistic with an emphasis on artistry and effect.

The King

The King (2019), directed by David Michôd. Depicts the story of King Henry V of England, based on plays by Shakespear. It focuses on the rise of Henry after his fathers death, and his role during ongoing conflict with France.

Henry is depicted as a drunk womanizer with no ambition. Due to his fathers, Henry IV, warmongering and violent nature, he has no desire to be a King due to not wanting to be like him. As such, Henry IV announces that our protagonist’s younger brother, Thomas shall inherit the throne upon his death.

When a rebellion starts in Henrys’ fathers unstable kingdom of England, Thomas is sent to fight it. Henry V, disliking violence and unnecessary death convinces Thomas to let him fight the battle in one-on-one combat, in which he is victorious, stopping the rebellion. Feeling out done, Thomas continues the conflict, where he is killed.

When his father dies shortly after, Henry reluctantly becomes King.
At his coronation Henry is gifted a ball from France, a disrespectful gesture, infantilising Henry.

In response to this, Henrys advisors push for war with France, in which Henry has no interest. An assassination attempt upon Henry is uncovered to have been ordered by the King of France. This, alongside discovering that two of his trusted advisors go to the King of France with concerns about Henrys ability to rule, Henry is forced to declare war.

The King is unable to trust the people around him which he understands contributes to questioned leadership and unstable governance of the Kingdom. He is taunted by the Prince of France and the English army in France meet with a large French force.

Falstaff, a soldier, becomes Henrys only trusted advisor. Between them, despite their fewer numbers, they determine that they can win the battle due to the weather conditions.

A powerful scene between Henry and the Prince of France ensues. Where Henry implores the Prince to “saves your men”, whilst the Prince demands full surrender in light of his seemingly superior position, and is enraged by Henrys gall.

Through clever tactics, connecting with his men on a personal level and running into battle alongside them after a powerful speech, Henry is victorious.

Gruelling scenes of violence and the reality of war is depicted in an extended battle scene. Men clamber over each other and Falstaff finds himself pinned in-between other soldiers unable to fight.

Another duel begins between the Prince and Henry. Unable to stand in the mud in his full plate armour, the Prince is immobilised, and Henry commands his men to finish the job, once again depicting his dislike of violence, despite his abilities as a warrior and commander.

Henry meets with the King of France, who surrenders. In order to bring peace between the two nations he is to be married to the King of France’s daughter Catherine .

Catherine challenges Henry on his war-like behaviour, where he tells her about the assassination attempt. She tells him that this was untrue, and Henry realises that the assassination was faked in order to push Henry to go to war with France. He confronts the advisor who told him about the assassination and kills him, before asking Catherine to always be straight with him.

This story looks at themes of leadership, responsibility and sacrifice. The complexities of politics and the importance of trust. It portrays the dangers of absolute power. Henrys selflessness is manipulated and he is forced to commit acts of violence to achieve peace.

Thematically there is an emphasis on gritty realism.

Themes & Plot

The story goes into how people in postilions of power lose the ability to trust the people around them, and it is often our enemies who become who we are most understood by. In the left image, the King of Qin discovers that he is understood best by two assassins, and in the right image, Henry discovers that the daughter of his enemy is who will tell him the truth. The shared theme here being assassination.

Both films examine concepts of war depicting dynamic scenes of battles with fantastic costumes and props. Differences can be observed, however in their realism and style. Hero creates wonderful visuals whilst The King emphasis es truth. Both are very visually powerful in their own right.

In these two scenes, we see the war film trope of a volley of arrows flying through air. The differences in the shots reflect the differences in their film making styles. The arrows in Hero are hyper-real, being too many and too large, whilst in The King they are hardly visible as they fly, likely being closer to the true experience. Again, both effective.

Another common theme is false dominance, Nameless bows and is shown to be meek in the presence of the King of Qin, despite the fact he is there to kill him. Henry in shown in the shadow of the Price of France, despite the fact he his about to best him in battle.

Common themes and visuals are observed here, with numerous differences as well. Both films share one-on-one duals as they allow for exciting drama. It is interesting how similar plot beats can be depicted so differently, however. There are clear differences in execution, but both achieve a similar effect in terms of the narrative. Shots from underneath characters looking up depict power and dominance.

There are huge differences, however in these scenes. The fighting in Hero is graceful and more akin to dancing, in the Wuxia style. Whereas The King depicts the brutality and clumsiness of the violence. There is still skilful, exaggerated sword fighting at play in both films, but the difference lies in the extent of that exaggeration.

Colour

Both films use colour to great effect. Adding to the visual experiences and contributing to the narrative.

The way they are used is completely different. In Hero, the film constantly uses colour in various ways. Whilst contributing to the visual style Yimou Zhang uses it as a narrative technique. Each of the different tales told about Nameless’ story are depicted with different colour motifs. Helping the viewer to separate the stories, and reflecting the nature of tale being told. When Nameless is describing how he killed the assassins, he tells a tale of lust and jealousy. Red is used here to reflect these emotions.

In The King, colour is used but in a completely different way. Sticking to the realism, most shots are muted and muddy without any distinct colours, as would be the case of the period depicted in the film without dies for clothes, and adding to the gritty, dreary theme and atmosphere of the film and its story.
When colour is seen, it is in stark contrast, depicting nature, royalty, clergy, or for an important plot device.

Similar use of colour is observed here.
White is used as the colour for the when the truth is being shown in Hero, and in the King; a child. Both reflect the loss of purity and innocence and tragedy.
The assassin dead by the hand of his lover and a child holding a decapitated head.

Symbolism

Both films use symbolism to further the story. Both Kings are shown looking to higher beings or truths in their positions of absolute power among men. The broken spear of a bested assassin falls to the ground, and the ball sent to Henry to mock him.

The extent to which symbolism is used in Hero is far greater than in the King.

Both films explore similar themes that revolve around sovereignty and absolute power, as well as violence, assassination, manipulation and murder. Jealously, revenge and hate.

They both explore the question of what sacrifices are to be made for unification and peace. Showing how power leads to manipulation, and losing the trust of the people around you, and how the path to peace is often through war.

Differences lie in style and execution, perhaps reflective of the zeitgeist of the audiences they are for. They are both fantastic achievements in film and celebrate the variety of film making techniques and story telling.

Stage 1 – Set Up

Indiana Jones and Marion are introduced as characters. The “MacGuffin” of the Ark is established, and that the character Arnold Toht is hunting for it. This sets up the central conflict of the film where there are two independent opposing parties seeking the Ark.

Stage 2 – Complicating Action

We learn that the Nazis, our antagonists to out protagonist are seeking the Ark. They are established as a threat to Indiana. He has to now find the Ark whilst avoiding conflict with the Nazis, and stopping them from obtaining the Ark, which will inevitably lead to action.

Stage 3 – Development

Despite Indiana using his best abilities and discovering the location of the Ark, the Nazis inevitably take it. The action is intensified and the stakes are increased. Where Indiana is now no longer obtaining the Ark before the Nazis but taking it off them.

Stage 4 – Climax/Resolution

Despite his best efforts, Indiana and Marion find themselves captured and restrained, whilst the Nazis’ are in unchallenged position of the Ark and are about to open in.

The Ark is opened, Indiana, through is knowledge of ancient artefacts, tells Marion to close her eyes. The opening of the Ark proceeds to destroy the evil Nazis.

The Ark is hidden never to be seen by humans again.