Ever since the arrival of CGI, genres of movies-science, fantasy and horror films, especially enjoyed in an exponential jump forward in terms of their ability to show all sorts of imaginative places and creatures. Be clear, the work that goes into creating everything from "Kingdom of the planet of monkeys" to "Duna: Part Two" It is significant, whether most of the work is working with computers. It is certainly true that tIt is a real thing that digital artists, animators, Rotoskopers and the like, it is difficult to grasp in the terms of laymen; Just look at the comments section of any trailer for the upcoming blockbuster, and you'll see some shape of the "CGI Sentiment Looks so bad", published by someone who assumes that these effects are done with just over a few mouse and buttons. One of the disadvantages of making films becomes so dependent on digital art is that discussions on work descriptions are still too disturbing to the average person.

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However, another major disadvantage of the mass exodus to digital effects is that practice is generally seen as a measure of saving the costs of producers (whether it is actually true or not, and Are digital artists paying pretty), led to approximately loading of old schooling methods of visual effects. The aspects of the world of effects that were formerly ubiquitous, such as matte images and making miniature models, are now dying art.

One aspect that has survived, fortunately, is the art of makeup for special effects on prosthetics, especially when it comes to Gore Gags in horror films. Although it is possible to improve the murder with digital effects, the visceral impact of having something physical in the camera that the audience can see cannot be rejected, and numerous horror directors (not to mention fans) have praised the practical effects of decades. However, practical blood and pigeon are just part of the horror director tool, and many other tools have passed unused for years. Fortunately, David F. Sandberg, director of This month scattered "Dawn", He attempted to include a number of inventive special effects on the camera in the film, and as he told me in a recent interview, a little explanation was required to convince his colleagues that these techniques are the best way to go.

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One of the highest aspects of the film "Dawn" is that although it is nominally adapted to Video game of the same name since 2015Sandberg, along with writers Gary Douberman and Blair Butler, chose not to rethink the game for the big screen. Part of the reason for this is how the cinematic video game was already, featuring performances by moving actors like Hayden Panettier and Rami Malek. In addition, the narrative paths of the game meant that the film remake would be required to choose a pre -set track, risking the potential alienation of fans who played the game differently. Thus, the adaptation of the game tone was a saved way to go. Both the game and the film include a context of the viewer's question that they could do, were stuck in one of several horror film scenarios; The film just turns to this funny.

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The biggest draw for Sandberg to the movie outside of this context is the fact that its unique structure and the inclusion of numerous monsters and subgons will allow him to flex his muscles of horror fans in a way that they were not before. As it was explained during our interview:

"In this Movie, one of the things (i enjoy) in particular was a chance to go all out with you practical effects and monsters and all these things that I have been wanting to do forever, becauuse even Done, they've been sort of supernatural and not as gory, or not as much. Found footage and these works. "

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As a horror fanboy, Sandberg saw him as "Dawn" as a kid in a candy store, and that excellence to the genre and almost empty creative check that the film enjoyed, of course, can be seen in the film itself.

"To Dawn" is far from the only evidence of Sandberg's Love Cub for making films. During his career, the director took it to produce a series of teaching and videos behind the scenes that detail his personal process and the various technologies and techniques he wants to use. He even made such a video for "Dawn" before the film was released.

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https://www.youtube.com/watch?v=ulilw5XZXC4

Titled simply "Practical FX Access at Dawn", short details a few of the many techniques and tricks for effects in the camera it uses within the film. Much of these fungi are reduced to a pure film shooting and knowledge, and they barely cost something to withdraw. Despite their relative cheap price, Sandberg seems to have made a little effort to persuade his visual effects team and the studio to use these techniques, if for no reason except such things are usually not done these days. As Sandberg explained:

"I know there were some things where they went through the production, especially when talking to the VFX seller and people here in Sony, was like," well, of course this would be visual effects, "and you had to go like," no, we can do it in this way. " And "Well, this will be a visual effect. That's like," no, I think we can do it this way. " I mean, the approach was to try to take practical (effects) as much as possible, and then we still had VFX in our tool if needed.

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In order to check for yourself what is practical and not in the finished movie, "To Dawn" is now in cinemas. To listen to my exclusive interview with Sandberg and Douberman, check out the latest episode of /film daily podcast:

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