A cinematic journey through visual effects - Don Levy
the<00:00:16.410> filmmaker<00:00:17.070> George<00:00:17.789> Milius<00:00:18.419> was<00:00:18.990> first<00:00:19.770> a
the filmmaker George Milius was first a
the filmmaker George Milius was first a
magician
magician
magician
now<00:00:22.910> movies<00:00:23.910> proved<00:00:24.599> to<00:00:24.840> be<00:00:25.020> the<00:00:25.650> ultimate
now movies proved to be the ultimate
now movies proved to be the ultimate
medium<00:00:27.090> for<00:00:28.050> magic<00:00:28.460> with<00:00:29.460> complete<00:00:30.149> control
medium for magic with complete control
medium for magic with complete control
of<00:00:31.610> everything<00:00:32.610> the<00:00:32.730> audience<00:00:33.149> can<00:00:33.450> see<00:00:34.219> movie
of everything the audience can see movie
of everything the audience can see movie
makers<00:00:35.610> had<00:00:35.910> developed<00:00:36.420> an<00:00:36.539> arsenal<00:00:37.230> of
makers had developed an arsenal of
makers had developed an arsenal of
techniques<00:00:38.090> to<00:00:39.090> further<00:00:39.420> their<00:00:39.870> deceptions
motion<00:00:43.620> pictures<00:00:44.070> are<00:00:44.450> themselves<00:00:45.450> in<00:00:45.660> the
motion pictures are themselves in the
motion pictures are themselves in the
illusion<00:00:46.590> of<00:00:46.950> life<00:00:47.360> produced<00:00:48.360> by<00:00:48.600> the
illusion of life produced by the
illusion of life produced by the
sequential<00:00:49.399> projection<00:00:50.399> of<00:00:50.520> still<00:00:50.850> friends
sequential projection of still friends
sequential projection of still friends
and<00:00:51.800> they<00:00:52.800> astonished<00:00:53.579> the<00:00:53.790> Lumiere<00:00:54.300> brothers
and they astonished the Lumiere brothers
and they astonished the Lumiere brothers
early<00:00:55.260> audiences<00:00:55.890> even<00:00:56.300> today's
early audiences even today's
early audiences even today's
sophisticated<00:00:57.860> moviegoers<00:00:58.860> still<00:00:59.610> lose
sophisticated moviegoers still lose
sophisticated moviegoers still lose
themselves<00:01:00.270> to<00:01:00.809> the<00:01:00.930> screen<00:01:01.290> and<00:01:02.030> filmmakers
themselves to the screen and filmmakers
themselves to the screen and filmmakers
leverage<00:01:03.510> this<00:01:03.809> separation<00:01:04.379> from<00:01:04.890> reality<00:01:05.430> to
leverage this separation from reality to
leverage this separation from reality to
great<00:01:06.509> effect<00:01:07.670> now<00:01:08.670> imagine<00:01:09.570> if<00:01:09.719> people<00:01:10.170> have
great effect now imagine if people have
great effect now imagine if people have
been<00:01:11.100> having<00:01:11.759> fun<00:01:11.969> with<00:01:12.030> this<00:01:12.450> for<00:01:13.380> over<00:01:13.560> 400
been having fun with this for over 400
been having fun with this for over 400
years
years
years
Giambattista<00:01:15.450> della<00:01:16.350> Porta<00:01:16.859> I'm<00:01:17.249> Neapolitan
Giambattista della Porta I'm Neapolitan
Giambattista della Porta I'm Neapolitan
scholar<00:01:18.569> in<00:01:18.929> the<00:01:19.200> 16th<00:01:20.009> century<00:01:21.049> examined<00:01:22.049> and
scholar in the 16th century examined and
scholar in the 16th century examined and
studied<00:01:22.859> the<00:01:23.340> natural<00:01:23.819> world<00:01:24.090> and<00:01:24.329> saw<00:01:25.170> how<00:01:25.469> it
studied the natural world and saw how it
studied the natural world and saw how it
could<00:01:25.979> be<00:01:26.209> manipulated<00:01:27.409> playing<00:01:28.409> with<00:01:28.649> the
could be manipulated playing with the
could be manipulated playing with the
world<00:01:29.039> and<00:01:29.520> our<00:01:29.909> perception<00:01:30.600> of<00:01:30.719> it<00:01:30.899> really<00:01:31.499> is
world and our perception of it really is
world and our perception of it really is
the<00:01:31.920> essence<00:01:32.429> of<00:01:32.639> visual<00:01:33.450> effects<00:01:33.810> so<00:01:34.709> digging
the essence of visual effects so digging
the essence of visual effects so digging
deeper<00:01:35.880> into<00:01:36.209> this<00:01:36.329> with<00:01:36.810> the<00:01:37.020> Science<00:01:37.469> and
deeper into this with the Science and
deeper into this with the Science and
Technology<00:01:38.310> Council<00:01:38.520> of<00:01:38.909> the<00:01:39.389> Academy<00:01:39.959> of
Technology Council of the Academy of
Technology Council of the Academy of
Motion<00:01:40.170> Picture<00:01:40.709> Arts<00:01:40.740> and<00:01:41.130> Sciences<00:01:41.959> reveals
Motion Picture Arts and Sciences reveals
Motion Picture Arts and Sciences reveals
some<00:01:43.439> truth<00:01:43.859> behind<00:01:44.159> the<00:01:44.939> trickery<00:01:46.249> visual
some truth behind the trickery visual
some truth behind the trickery visual
effects<00:01:47.700> are<00:01:47.849> based<00:01:48.599> on<00:01:48.869> the<00:01:49.319> principles<00:01:49.859> of
effects are based on the principles of
effects are based on the principles of
all<00:01:50.599> illusions<00:01:51.920> assumption<00:01:52.920> things<00:01:53.490> are<00:01:53.819> as
all illusions assumption things are as
all illusions assumption things are as
we<00:01:54.509> know<00:01:54.689> them
we know them
we know them
presumption<00:01:56.599> things<00:01:57.599> will<00:01:57.929> behave<00:01:58.349> as<00:01:58.709> we
presumption things will behave as we
presumption things will behave as we
expect<00:01:59.490> and<00:02:00.020> context<00:02:01.020> in<00:02:01.200> reality<00:02:01.799> our
expect and context in reality our
expect and context in reality our
knowledge<00:02:02.909> of<00:02:03.119> the<00:02:03.240> world<00:02:03.569> as<00:02:03.899> we<00:02:04.380> know<00:02:04.409> it
knowledge of the world as we know it
knowledge of the world as we know it
such<00:02:05.310> as<00:02:05.520> scale<00:02:06.289> now<00:02:07.289> a<00:02:07.499> fourth<00:02:08.009> factor<00:02:08.520> really
such as scale now a fourth factor really
such as scale now a fourth factor really
becomes<00:02:09.270> an<00:02:09.599> obsession<00:02:09.860> which<00:02:10.860> is<00:02:11.069> never
becomes an obsession which is never
becomes an obsession which is never
betray<00:02:12.510> the<00:02:12.900> illusion<00:02:13.770> and<00:02:14.780> that<00:02:15.780> last<00:02:16.080> point
betray the illusion and that last point
betray the illusion and that last point
has<00:02:16.890> made<00:02:17.099> visual<00:02:17.520> effects<00:02:17.849> a<00:02:18.030> constant<00:02:18.780> quest
has made visual effects a constant quest
has made visual effects a constant quest
for<00:02:19.830> perfection<00:02:20.450> so<00:02:21.450> from<00:02:22.080> the<00:02:22.200> hand-cranked
for perfection so from the hand-cranked
for perfection so from the hand-cranked
jump<00:02:23.940> cut
jump cut
jump cut
early<00:02:24.810> days<00:02:25.019> of<00:02:25.260> cinema<00:02:25.499> to<00:02:26.219> last<00:02:26.459> Sunday's
early days of cinema to last Sunday's
early days of cinema to last Sunday's
Oscar<00:02:27.959> winner<00:02:28.230> what<00:02:28.950> follows<00:02:29.459> are<00:02:29.790> some<00:02:30.209> steps
Oscar winner what follows are some steps
Oscar winner what follows are some steps
and<00:02:31.109> a<00:02:31.889> few<00:02:32.609> repeats<00:02:32.999> in<00:02:33.629> the<00:02:33.810> evolution<00:02:34.499> of
and a few repeats in the evolution of
and a few repeats in the evolution of
visual<00:02:35.549> effects<00:02:35.909> I<00:02:36.209> hope<00:02:36.749> you<00:02:36.900> enjoy<00:02:39.170> the
visual effects I hope you enjoy the
visual effects I hope you enjoy the
filmmaker<00:02:40.909> George<00:02:42.049> yes<00:02:43.909> it<00:02:44.909> was<00:02:45.030> one<00:02:45.719> of<00:02:45.840> the
filmmaker George yes it was one of the
filmmaker George yes it was one of the
first<00:02:46.439> to<00:02:46.709> realize<00:02:46.950> that<00:02:48.469> films<00:02:49.469> had<00:02:49.650> the
first to realize that films had the
first to realize that films had the
power<00:02:50.099> to<00:02:51.709> capture<00:02:52.709> dreams
are<00:03:25.530> you<00:03:25.620> feeling<00:03:25.950> Jake<00:03:26.720> hey<00:03:27.720> guys<00:03:29.060> welcome<00:03:30.060> to
are you feeling Jake hey guys welcome to
are you feeling Jake hey guys welcome to
your<00:03:30.390> new<00:03:30.480> buddy<00:03:30.690> Jake<00:03:33.800> well<00:03:34.800> if<00:03:34.950> you<00:03:35.040> want<00:03:35.220> to
your new buddy Jake well if you want to
your new buddy Jake well if you want to
sit<00:03:35.430> up<00:03:35.580> that's<00:03:35.910> fine
sit up that's fine
sit up that's fine
good<00:03:36.629> just<00:03:36.810> take<00:03:36.930> a<00:03:36.959> nice<00:03:37.410> no<00:03:37.620> Jake<00:03:37.890> okay<00:03:38.459> we
good just take a nice no Jake okay we
good just take a nice no Jake okay we
know<00:03:38.790> truncal<00:03:39.150> ataxia<00:03:39.209> that's<00:03:39.810> good<00:03:45.530> what's
know truncal ataxia that's good what's
know truncal ataxia that's good what's
happening<00:03:47.010> to<00:03:47.220> me
it's<00:05:16.880> all<00:05:17.030> over<00:05:17.300> don't<00:05:17.840> worry<00:05:18.139> about<00:05:18.350> a<00:05:18.680> thing
it<00:05:31.720> seems<00:05:32.050> to<00:05:32.290> me<00:05:32.500> that<00:05:32.890> the<00:05:33.490> worst<00:05:33.820> is<00:05:34.480> over
thank<00:06:46.670> you
thank you
thank you
you
special, effects, Georges, Melies, film, filmmaking, Don, Levy, the, Academy, Oscars, TED, TED-Ed, TED, Ed, TEDEducation
