Before dawn the director had to convince colleagues to try special effects in the camera

Since the appearance of CGI, genre films-scientific-fantastic, fantastic and horror movies, in particular, they used an exponential jump forward in terms of their ability to reflect all kinds of figurative places and creatures. To make it clear the work that goes on to create all “Kingdom of the planet of monkeys” by “DUN: Part Second” Significantly, regardless of whether most work is done with computers. It is definitely true that tHe is actually a job that digital artists, animators, rotoscopers and the like difficult to understand the conditions of relaxation; Take a look at the comment section for any trailer for the future blockbuster, and you will see some “CGI looks so bad”, posted to those who suggest that these effects are made a little more than a few clicks and presses. One of the disadvantages of film production becomes so dependent on digital artistry that discussion and work description are still too stupid for the ordinary person.

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However, another major disadvantage for the massacre digital effects is that a practice that is usually regarded as a manufacturer’s savings (regardless of what it really is, and this is true, and Or pay or not a digital artist), led to almost salty outdated methods of visual effects. The aspects of the world of effects that were previously ubiquitous, such as matte paintings and miniature model, now dies art.

Fortunately, one of the aspects that has survived is the art of prosthetics of special effects, especially when it comes to the mountains in horror movies. Although it is possible to improve the murder of digital effects, the vicious impact of the presence of something physical in the camera that the audience can be seen cannot be denied, and many horror directors (not to mention fans), have sung the practical consequences for decades. But practical blood and mountains are just a part of the director’s instruments, and many other tools have remained unused for many years. Fortunately, David F. Sandberg, Director This month’s Spook-A-Blast “Up to Dawn”, He made an effort to include a number of inventive special effects into the film, and, as he told me in a recent interview, it requires a little explanation to convince his colleagues that these methods were the best way.

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One of the wonderful aspects of the movie “Before Dawn” is that though this is nominally adaptation The eponymous video game since 2015Sandberg together with writers Gary Doberman and Blair Butler, decided not just removing the game for a big screen. Part of the reason for this is how the cinematic video game was presented with movements such as actors such as Heiden Panetare and Rami Malek. In addition, the branched narrative pathways of the game meant that it would need a movie about it before applying the path, risking a potential alienated fans who played this game differently. Thus, the adaptation of the tone of the game became a more experienced way. Both the game and the movie provide for the subtext to ask about the viewer what they can do if they are stuck in one of several horror movies; The movie just views it more inclined.

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The biggest draw for Sandberg to the film beyond this subtext is the fact that its unique structure and inclusion of many monsters and the palpine would allow him to flex his muscles of horrors in such a way that they were not before. As he specified during our interview:

“In this movie one of the things (I liked it), in particular, was a chance to get out with practical effects and monsters, and all these things I wanted to do forever, because even in the previous horror films I made, they were some supernatural and not as much as not. Not many things. “

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As a fan of horrors, Sandberg saw “before dawn”, how to be a child in the candy store, and this excitement for the genre and the almost empty creative check he liked in the film can definitely be seen in the film.

“Until dawn” is not the only testimony of Lyubov Sandberg for film production. For his career the director took over to produce A series of training and behind -the -scenes videos In what details its personal process and the various technologies and methods he likes to use. Before the film’s release, he even made such a video about “before dawn.”

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https://www.youtube.com/watch?v=ulw5xzc4

Practically “Practical FX’s Practical approach”, brief information is some of the many methods and tricks in the camera it uses in the movie. Many of these fogs are reduced to a pure savvy film production and know-how, and barely cost anything to remove. Despite its relative cheapness, Sandberg seems to have made a little effort to persuade your visual effects team and the studio to use these methods if this is still the reason. As explained by Sandberg:

“I know that there were some things when they are experiencing in the previous production, especially when we talk to the VFX provider and people here in Sony, it was:” Well, of course, it would be visual effects, “and you had to go as:” No, we can do it so. “And” Well, it will be a visual effect. It’s like: “No, I think we can do it that way.” So I mean that the approach was to try to take practical (effects), and then we still had VFX in our toolbar if necessary.

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To check yourself practically and what is not in the finished movie, it is now in the cinemas. To listen to my exclusive interview with Sandberg and Doberman, read the latest episode The /Film Daily Podcast:

You can subscribe to /shoot daily Apple podcast. Overcast. HoldOr wherever you receive podcasts, and send your reviews, questions, comments, problems and themes at bpearson@slashfilm.com. Please leave your name and overall geographical location when we mention your email on the air.