So often I’ll be watching a movie or a TV show and I’ll see a shot that jars against my viewing. Mostly I wont pick exactly what caused my reaction but I just knew something was wrong. Being the analytical person I am, usually I’ll hit the rewind button and then watch the offending shot a few more times to see if I can figure out what drew my attention to it.

Normally, with my trained eyes, I can figure out what is wrong on the second or third viewing and more often than not, it’s a physics thing. Or more to the point a lack off. Something doesn’t move quite right or sit in the frame right or the colours aren’t reacting properly or any number of things.

The human eye combined with the subconscious mind, is very good and noticing things that aren’t “right”, especially when we know what IS right. More and more these days, visual effects are being used to create real-world elements instead of the usual spaceships and dinosaurs. The problem is that we as an audience know, instinctively, how these things look and move and interact with our everyday environment.

As a visual effects artist and supervisor, I know how easy it is to get so absorbed in the work, that we rarely step foot away from our computer screens. I think this is one of our biggest failings. You see, by not going outside and observing the natural world around us, how could we possibly be expected to recreate it in the virtual world.

I remember a shot I was putting together on one of my first projects. It was creating a Sunset on a plain blue sky. I spent hours putting the shot together, adding a giant ball of orange light, lens flare shooting out over the scene, glistening sparkles in the water, and colouring the shot to match. At the time I was so caught up in creating the shot, that when the final render had been completed and I played it back, I thought it looked amazing.

Years later when I (excruciatingly) watched the film back, I noticed how bad this shot looked. I was stunned as my memory was tainted by the emotion of how good I thought it looked at the time I had created it. I watched the shot over and over but couldn’t figure out why it looked so bad. So, in my obsession I got in my car and drove half an hour to the beach, where I could watch a real life Sunset over the ocean. Now before you say anything, I had actually seen a Sunset over the ocean before but just hadn’t taken it in.

As I watched, I noticed how the light hit the water and reflected back to me. It hit me what I had done wrong. I had created the reflection of light tapering out from the source (being the Sun) to a point as it got closer to the camera. I recalled at the time I was putting the shot together how I had also tried the opposite of having it get wider as it moved toward the camera, but that really hadn’t felt right. As I looked I noticed that the column of reflected light appeared the same width all the way along. It showed no signs of perspective.

At the time, my logic had been right in expecting their to be some kind of perspective but that just isn’t the case when dealing with reflected light. The only way to ever know this is to observe it in real life.

From that point on I have always gotten out of the studio as often as possible and entered into the real world of nature. I observe everything in as much detail as possible. Looking to see how things move and interact with each other, how the colours and light react and mingle, how reflections and shadows are cast, etc.

By doing this regularly, not only has my work improved significantly and taken me from the realm of B grade effects to photorealistic creations, I have also witnessed many of the amazing and beautiful things around us that normally would go unnoticed. As a result I have gained a much deeper insight and respect for this world we are part of which in turn has enriched my life more that I could measure.

“But what about those spaceships and monsters? If that’s all I’m doing then it doesn’t matter. They don’t exist in the real world...”

You are correct in saying that they don’t exist in the real world (that we know of). But the key to creating a great shot is by getting the audience to suspend their disbelief. The best way to do that is to create things that are familiar to us and work in ways that we can understand. Understanding real-world physics can be interpreted into anything you are creating, real or not.

So shut down your computers and get outside. It doesn’t matter if it’s raining, You’ll have to create a rain shot one day I’m sure. Enjoy the natural world and appreciate the wonders it has to offer. Think of it as a free encyclopedia of references for visual art.

James Cole is a Director, Editor and Visual Effects Producer for Hysteria Productions and has worked on hundreds of projects from short films to feature films and music videos to commercials. You can find out more at http://www.hysteria.com.au

I stumbled upon this great montage video today that shows a whole bunch of shots from some of the top TV shows, that used green screen visual effects. The interesting thing about most of these shots, is that you would never know about them or pick them. They're just shots you'd think were filmed on location. Some are obviously digital, like the boat on fire from Greys Anatomy. But the only reason you'd know it was digital is because it's kind of obvious that it would cost way too much to actually have a real boat all smashed up and on fire. And of course the space walk on another planet had to be digital because, unless we've had some serious technological advancements in the last twelve months that I'm unaware of, I know we can't just pick up a camera and crew and head off to another world.

Have a look at this awesome video from Stargate Studios.

So why are they using digital compositing on green screen shots on what appear to be simple location shoots in the cities?

Well more often than not it comes down to two factors. Budget and time. Possibly the two biggest influencers of any film project, big or small. Quite often a TV show is not filmed in the city that it is set. It would take up way too much time to actually go and get those shots that take place out on the streets. Also the logistics involved in shooting on location in a city (or almost anywhere these days) is nightmarish. The endless red tape that needs to be sorted through, the officials that need bribing (Oops sorry, I meant location shooting fees that need to be paid...) and then if you have the time, money and patience to push through all of that, you then have to deal with keeping members of the public out of the frame and avoid showing trademarked logos and signs that you don't have permission to use...

Sometimes it's just easier, cheaper and quicker to build a small section of shop fronts, throw up a green screen, get a few extras, shoot the scene in a controlled environment, and then get some digital compositing whizz to throw it all together in post-production. Not to mention when done that way, you have complete control over weather, lighting conditions, the time of day and so on and so on.

So did you ever think that so much planning and work went into seemingly straight forward shots, or were you putting some dinner into your mouth at that moment and missed the shot all together?

Being a visual effects artist is an interesting job that plays havoc on our egos and emotions. At first, it's a great feeling to be a visual effects artist and have your work on display for everyone to see. But then if someone from the audience states "they were some great effects" and then comes up to congratulate us, we know that we've failed. An audience should never be aware that a  great effects shot has just happened right in front of them.

James Cole is a Director, Editor and Visual Effects Producer for Hysteria Productions and has worked on hundreds of projects from short films to feature films and music videos to commercials. You can find out more at http://www.hysteria.com.au

This is my 2010 visual effects show reel. With new shots from commercials and films including a number from "The Gates of Hell"

For a detailed breakdown of all the visual effects shots, visit the Visual Effects Portfolio page.

Any constructive feedback is welcome. Please leave a comment below.

After a three day grueling film shoot, I realised I still had the camera for one more day. I couldn't let it go to waste... I came up with this little idea and set off with my co-producer Chris Daniels and Unit manager Brad Armel, to find a place to film it.

Luckily we didn't have to go far. I found a fairly bare looking field with one great looking tree in the middle and a wonky windmill in the background. It couldn't have been more perfect. Brad operated the camera, while Chris and myself got into character.

About two hours later and I was pretty sure we had all the footage I needed.

Unfortunately, post-production wasn't that quick. A number of other jobs got in the way and it was a good six months before I got the project finished.

The was shot on the Sony HVR-Z1 HDV camera. I loved almost everything about the camera except the format. HDV is truly a terrible format if you want to apply visual effects and heavy colour grades to the footage. It just doesn't hold up with all the compression that is on it. Oh well, I managed to save both this and the other project I was shooting at the time.