Captain America: Civil War (May 6, 2016)

[jye4ever]

Yup, Falcon was a bad ass in this.

 

[CallMeTheDoctor]

how many more times are you going to see it? and i think your followers are waiting for you to post something on insta haha

Probably another 8.

I haven't logged on in ages. I'll have to do that.

I was half expecting that to happen. But it's so like panthers character to not get caught in some little squirmish that no longer holds relevancy for him once he saw the big picture and heard Zemo's role. I loved how he confronted Zemo at the end.

Panther is too smart to let Zemo get away ahead of them. This is the guy that is always said to be 3 steps ahead of his friends and enemies.

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Yeah that totally makes sense. I just suspected more up until the part Zemo showed himself. I would've expected BP to take all 3 on. I feel that was the one factor Zemo could never anticipate. Obviously once he found out he did the bomb, I didn't think BP would stay.

It wasn't a real fight to begin its more of like a group of boys who have minor quibble and they hash it out by trying to beat each other up. Deep down Tony knew he can't really kill Bucky, and he sorta felt betrayed by Cap since he knew and didn't tell him and he kinda choose bucky over Tony. Had he wanted to kill Bucky, he could've used Veronica and smashed Bucky in an instant.

Wouldn't he have pretty much taken off Veronica after Ultron? He pretty much quit from that point on. Don't think that would of happened.

 

[jye4ever]

Man the crap filmakers need to do now just to make China love their movie.


CAPTAIN AMERICA DIRECTORS REVEAL CHINESE SUPERHERO MOVIE

Film eyes late 2017, early 2018 release.

BY NICOLE CARPENTER

Anthony and Joe Russo—the directors of Captain America: Civil War—will begin production on their "mind-bending Chinese superhero film" this year.


According to Variety, the brothers appeared at an event in Beijing to announce their new project, The Hero's Awakening. The film is the first of a new partnership between the director-duo, Chinese production company United Entertainment Partners, and equity firm HDQH.


The Russos were reportedly approached by a Chinese filmmaker regarding a film about "a character who can control things with his mind." Anthony and Joe Russo will serve as producers on the film, which will be released in late 2017 or early 2018.


The Russo brothers have also reportedly met with Chinese filmmakers including Ning Hao (Crazy Stone), Jiang Wen (Gone With the Bullets), and Wuershan (Mojin: The Lost Legend)

 

[The Clown Prince of Crime]

https://www.hollywoodreporter.com/b...in-america-civil-war-892387?facebook_20160510

The VFX techniques that were used to create a youthful Tony Stark are now being routinely used to give actors what amounts to digital face-lifts.
Robert Downey Jr. returns as present-day Tony Stark in Disney and Marvel's Captain America: Civil War, but Downey fans can expect to feel a surge of nostalgia when, in one flashback, he appears onscreen looking very much as he did in films from the '80s, like 1987's Less Than Zero.

The teenage Tony Stark was created by artists at Lola VFX using the latest digital tricks. The company has earned a reputation for such work, having also "de-aged" Brad Pitt's title character in The Curious Case of Benjamin Button (a film that won an Oscar for its visual effects). Marvel also employed the facility to create a younger version of Michael Douglas in last summer's Ant-Man.

For the scene in Civil War, the process started during production with Downey performing the scene. "Instead of completely replacing the actor with a digital double, this method allowed us to retain the actor's performance and nuances," Trent Claus, visual effects supervisor at Lola VFX, tells The Hollywood Reporter. "Then we began to adjust the on-set footage of Tony Stark through digital compositing."

That process is akin to using Photoshop on a still image. Says Claus: "It is a similar process to Photoshop that uses some similar tools, but unlike Photoshop which is done on a single image, we have 24 frames per second of footage.

"Every feature of the face and body needed to be addressed in some fashion," he says of the work that went into creating the youthful Tony. "One thing that happens to all of us is that the skin of the face gradually lowers in certain areas, and needs to be 'lifted' back to where it was at the age in question. But other changes are incredibly subtle, such as increase in the way light reflects off the sheen of the skin, a reduction in the appearance of tiny blood vessels under the surface of some parts of the face, or more blood flow in the cheeks giving them that familiar youthful 'glow.' "

De-aging a character by a span of 25-30 years can affect skin texture and complexion and can involve characteristics such as bone structure or posture, Claus explains. "Additionally, when working with the appearance of a well-known actor such as Robert Downey Jr., there is the added pressure of living up to the youthful appearance that audiences remember," he says. "In this case, we analyzed footage of Mr. Downey at the approximate age that we wanted to target, which was around the time of the film Less Than Zero [when Downey was in his early 20s]."

The particular shot was also challenging because of its length and because it involved a close-up. Says Claus: "The shot was nearly 4,000 frames long, with Tony Stark turning from one side to the other multiple times, physically interacting with other actors, and the set itself, and moving closer to the camera for a very long, uninterrupted close-up."

Claus and other VFX pros are increasingly being asked to employ such digital tricks. "Creatives are finding more and more uses for it. It allow actors to play earlier versions of themselves," says Eric Barba, who was at Digital Domain when he served as the Oscar-winning VFX supervisor of Benjamin Button and who currently works at Industrial Light & Magic in Vancouver.

But such digital work isn't being used only to allow an actor to play a character decades young than himself. There's also what's called "beauty" work — in effect, providing actors with digital facelifts — a practice many in Hollywood would prefer to keep secret. "The not-so-obvious examples are probably under confidentiality," says Barba. "There are certain stars that you are not allowed to talk about when that type of work is done — maybe slimming a little bit or cleaning up some imperfections."

"It's much more common than anyone realizes; this is the extension of what's done for magazine covers," says research professor Paul Debevec, who leads the Graphics Lab at the University of Southern California's Institute for Creative Technologies.

As digital technology has become more affordable, "if it's a major actor, you can do that for every frame of a film," adds Debevec, who also co-chairs the Academy of Motion Picture Arts and Sciences' SciTech Council. "Of course one of the worries is that actors are going to have this Dorian Gray problem because the image that we have of them in the films is going to diverge further and further from the way that they look in real life. So they are going to have more trouble on the talk shows and on the red carpet, until those too can be touched up in real time with a yet-to-be invented technology."

It's not just about freshening up a face either. VFX techniques can also be used to create everything up to a full digital double of an actor. Those tend to be created for safety reasons, where a stunt would be either dangerous or simply impossible; or in the delicate situation of the death of an actor. Weta Digital undertook the task of completing Paul Walker's performance in 2015's Furious 7 after his unexpected death.

"That's a whole other level of complexity," Debevec explains. "It's not a matter of digital makeup but actually re-creating a digital version of the person that is three-dimensional, animate-able and relight-able. [In these instances], if you can base it on facial scans, that's the best thing to do."

USC's ICT has developed a light-stage system (a sphere of hundreds of LED lights that's used to create a high-res, 3D scan) that has already been used to scan actors for films from Avatar to Gravity — Downey himself underwent such a scan when it looked as if he would be starring in Gravity. "We first scanned him for Gravity [before George Clooney was recast as Matt Kowalski], and the scan ended up getting used in Iron Man movies instead," says Debevec.

ILM is using a facial-capture system called Medusa, which was developed by Disney Research in Zurich. "We have been putting it to use in production and helping them advance it," says Barba.

Some productions now create 3D scans of lead actors as a matter of course. Explained VFX supervisor Scott Squires in a previous interview with THR: "If there's any inkling that you might need a scan, they scan the actor at the start of production. I've also heard of certain studios having actors scanned just as an archival thing."

 

[spindrift]

WOW- pretty soon no actors will age in their films- I'm certain a number of actors are getting digital facelifts in their current movies- and some NEED them

 

[The Clown Prince of Crime]

Yeah, I'd like to see a full film using that method of de-aging with a well known actor playing a well known character.

 

[Sweet Rabbit]

TL;DR

 

[twistedfreak]

Sogs, you make a great point there. The CG for the 3 Iron Man films was quite good. Now, I'm not sure if that's because the CG was just done better, or if its because they combined practical effects with the CG. I saw WS and AoU on Sunday, and I as well observed a lapse in some of the CG. There were scenes where it was like, okay the green screen is very apparent here. It's a bit of a head scratcher when you look back at other films that are older (Iron Man which came out 8 years ago), and that was quite good. Alas, this is still a very well done film. Would I prefer more seamless as you say, I would. With that being said, I am just glad that the film came out as well as it did. I did enjoy BvS, but this was far better in its execution.

 

[Darth Snoopy]

Yeah, I'd like to see a full film using that method of de-aging with a well known actor playing a well known character.

Harrison Ford. Young Han Solo.

'Nuff said.

 

[twistedfreak]

The scene with young RDJ was among the best CG in the film. Makes me wonder why it didn't hold up in other scenes.

 

[GasparZizou]

but on the H2H? Hell no! The warehouse sequence was fun, but nowhere near Cap's action sequences.

Not only near, better.

Hell, look at the wire-work here:

That thug may as well be flying. Maybe he's a low-level meta... That's gonna be useful in ComicVine I guess...

Dude was launching at him, Bats redirected him, looks perfectly natural.

MUCH more natural than say Sharon giving 2 full spins when being slammed on a table.

The punch doesn't even connect there.

I'll give you that one, pretty much the only flaw of that sequence.

Oh, and these 2 bits were actually cut from the movie.

Batman presses his head down with force, but the guy stands straight for too long.

Huh? He doesn't, head goes back as soon as Bats grabs him.

Now, I'm not saying it's bad, but if we analyze the sequence like folks have done with TWS, it has tons more problems. If you look close enough the wire-work is noticeable in all action movies, but in both TWS & CW, it's more fluid. IMO at least.

Sorry but no man, not only it's got less problems (only one flaw, which was cut out), it's got more intensity, same for the knightmare sequence, on CW my brain went like "there, and there, and there, and there" on the first view, without even analyzing, and on puketastic 3D.

The wire work in CW is not fluid at all, at all, it takes me back to the 2000's, in fact, the few times I was taken out of the action it was precisely because of how obvious the wire work was.

Sorry man but the MCU is still below DC when it comes to action, it gets closer with CW and it got DC beat with TWS in H2H for a second there, before the Batman sequence came.

 

[Starscream Soundwave]

Don't get the love in for the Warehouse scene. As others have mentioned, it looks like a video game. And, as far as I'm concerned, that's not a good thing.


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[jnmx2000]

He kind of was though....he was a decent part of IM2 and IM3. And Avengers 2 with Falcon. I thought they both did rather well--but they were written better in Civil War

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I'm talking War Machine though, not just Rhodes.

He was cool at the end of Iron Man 2, he wasn't in Iron Man 3, He was alright in Avengers 2 but that suit isn't War Machine to me (He was mainly there for the laughs) and his best on screen appearance is the air port fight, which everyone was awesome in. I just wanted more badass moments from War Machine in the Marvel world, I feel like he didn't have many.

 

[twistedfreak]

Great words. I agree fully. I love how much more badass falcon was in this movie too. Finally got his due.

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I knew I was forgetting someone. Yes, Falcon was great here. He is a great addition to the Cap movies. Mackie and Evans have great chemistry too, IMO. His banter with Buck was a highlight for me.

 

[GasparZizou]

Don't get the love in for the Warehouse scene. As others have mentioned, it looks like a video game. And, as far as I'm concerned, that's not a good thing.

You could say the same about the airport scene. Which btw I don't get the videogame tag anymore, it used to mean something, now if something uses CGI or reminds someone something from a game then it looks like a video game. Memes, man.

I think it could be a good thing, there are game cinematics that have better atmosphere and look better than CW or BvS.

 

[jye4ever]

Don't get the love in for the Warehouse scene. As others have mentioned, it looks like a video game. And, as far as I'm concerned, that's not a good thing.


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As good as it was TWS/CW hand to hand fights are better because you can at least see what's going on, some of the warehouse stuff was difficult to focus on.

I'm not saying it was bad, it wasn't..not even close, it's the best cinematic Batman fight so far.

 

[Michael Mercy]

Here's my video recap & review:

 

[Darkseed]

Having a difficult time deciding if the old school rock piling scene or the high tech imagery conversations with dead pops was best....decisions, decisions .

 

[ironwez20]

that rock piliing scene felt so random to me.

 

[GodzillaSpawn]

I'm talking War Machine though, not just Rhodes.

He was cool at the end of Iron Man 2, he wasn't in Iron Man 3, He was alright in Avengers 2 but that suit isn't War Machine to me (He was mainly there for the laughs) and his best on screen appearance is the air port fight, which everyone was awesome in. I just wanted more badass moments from War Machine in the Marvel world, I feel like he didn't have many.

Well true...but I don't think Falcon showed up at all in-built in avengers 2 until the last few seconds, right? I think they both been pretty equal. Falcon did have that scene in Ant-Man though and maybe WM will get an upcoming part in someone else's movie. Might be cool if he's sent to Wakanda to try to hunt down Cap lol

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