particular achievement in stereoscopic filmmaking

One of the only animated films I can think of which uses variable frame rates in its character animation with purpose. Interesting character technique in this movie where CGI game models are switched in for the 2D cells. These models are animated on 1s @60fps as opposed to the 2D characters which are generally animated on 2s @24 FPS. This is done to express ascension and peaks of power, and allows the camera in moments to synchronize more dynamically with the characters expression.

watermark moment for fantasy based realism in CGI.

recency bias; this does a lot what other obayashi movies do so not wholly unique but obs obayashi’s work with cgi is in a world of its own. 

Tbh it’s not even his use of cgi is unique on a production level as much as he just really gets animation, and how animation is a craft of layers, and how that can translate to cinema in an NLE-assembly driven context. 

Likely the only filmmaker to -perfect- CGI at an independent level and place it within a masterpiece.

the GOAT. Literal handbook of cgi animation philosophy. We’re so lucky.

cool use of many modern techniques as well as a fine understanding of how CGI can be “cheated” for effect (particularly in areas of perspective and scale). And of course profound use of “shaders”. Understands the ways computer made images can be images wrapped in other images, literally.

Not really revenge of the sith specific; just chose to rep all the prequels. 

Obs there’s a lot to say about CGI and Star Wars prequels. What stands out to me though is the character work.

The acting and presence of the animated characters is special in the prequels. particularly the way they play against the live action characters. Not just on a acting/emotive level (I.e. dialogue scenes with yoda) , but I’m also thinking of things like the fight between Grevious and Obi Wan, the 100s of BG characters running about in busy scenes, armies of droids marching in unison. 

This character work is unlike anything else in movies, I think. It allows film to slip in and out of extreme scales which other movies simply can not/do not. From broad gestural performance, to the emotionally detailed speaking and feeling faces, the prequels characters express beautifully on every level.

confirmed CGI as an art by undeniably linking it to the act play

extremely appealing application and a personal fave example of poetic potential within contemporary cgi techniques relation to “material” 

within the film, few objects are textured or are made of a in molecular sense “what they are”. in a contextless fashion, objects are composed of materials which spiritually share the feeling of what that object is - I.e. my fave example- the chaotic water of a roaring river is not composed water, but of children’s decorative arts and crafts glue filled with sparkles.

The glue like behaviour of the material allows a form of chaos which water could perhaps normally not express, and it’s surfacing and sparkle accents feel so appealing and particular to the world. The characters only refer to it as water though, as does the film.

This is less of an innovation as much as the film, imo, highlights a cornerstone of CGI theory.

uniquely impressionist cgi, especially interesting in relation to the original films practical effects and how it bridges “texture” as the primary expression between the practical and computer FX processes