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The Digital Revolution

How Digital Technology Impacts the Film Industry

5 May 1999

English 102

Instructor: Cynthia Bizel

Grade: A

By: Todd Bauerle

Page 1 of 6

The art of filmmaking has drastically changed in the past century. Movies have changed from black to white, silent to ear piercing, and from stone-age visual illusions to mind-blowing digital special effects (F/X). While all of these evolutions are impressive, to say the least, the digital effects are the most intriguing. Digital F/X bring an unparalleled amount of flexibility to motion pictures, as well as an endless canvas of possibilities for directors to take advantage of. “The essence of the storytelling had to be sacrificed for the limits of technology,” (“Making”, NP) says Rick McCallum, producer of Star Wars: Episode One – The Phantom Menace, commenting on the processes used to create visual illusions in the past.

However, things have changed in the past twenty years. Since its creation during the making of Star Wars in 1975, Industrial Light & Magic (ILM) has been on the cutting edge of special effects. In fact, it was ILM that created the first completely digital sequence known as the “Genesis Effect” in Star Trek II: The Wrath of Kahn, in 1982 (Vaz, 55). Since then, computer generated images (CGI) have been a tool that filmmakers rely on everyday because CGI is able to consistently represent fictitious elements in a realistic way. The advances made with digital technology in Star Wars Episode One – The Phantom Menace will benefit the art of film in the twenty-first century due to heightened creative freedom, because of the increased capacity to exercise more control over both actors and environments during post-production, and through the ability to provide superior presentation.

Disaster for Film?

Some disagree, feeling that digital technology is a detriment to film because CGI has been overused recently. This can be seen in films released after Jurassic Park opened in 1993. “In [Jurassic Park] there’s a scene where the characters are in a jeep driving away from a perusing T-Rex. Not only is the computer generated T-Rex ferocious and life-like, but it’s a hand-held camera, with the camera shaking all over the place, where previously the camera had to be locked off (to allow for seamlessly composite a separately created element),” explains McCallum. “It was such a quantum leap” (Vas, 57). This breakthrough spurred an explosion in the use of digital elements in films and commercials, even when CGI use was probably not appropriate yet, due to underdeveloped software (Hockensmith, 76).

One film, Anaconda, prematurely made use of computer animation, which ultimately resulted in a very high profile CG character that did not look realistic. The overuse of digital technology frightens many that the F/X will become the focus of the movie, instead of being used to support and propel the story (Boggs, 175). This is true in some cases. However, just because the artist uses one color too much does not mean the color is not beautiful. Digital technology is till new to film, and it will take time for directors to be come comfortable and wise in wielding it.

Other skeptics feel that creating computer-generated characters will result in replacing actors with digital images. The outcome of such an event would place many in the unemployment line, and mark the end of acting. George Lucas, creator of Star Wars and head of ILM, says not to worry. “There wouldn’t be any point in creating an actor” (60 Minutes, NP). This is because “it’s still infinitely cheaper to use an actor than create one, (laughter) and it’ll probably always be that way” (“Transcript”, 17). Lucas assures moviegoers humans will be needed for quite a while, adding, “We will use actors for voices, and in the case of digital technology, the animator becomes the actor, using the same craft that the actor used” (“Transcript”, 17). Besides, Lucas would “much rather work with actors” (Thompson, 72).

What do the actors think about this? “Quite honestly, after my initial excitement, the filmmaking process turned out to be the epitome of tedium” (“Making”, NP), says Ewan McGregor, who portrays a brash Obi-Wan Kenobi in the coming prequel. “The work was so complex with all the especial effects and stuff that I found my self hanging around for days. What bothered me the most was that everything was so deliberate” (“Making”, NP). So far, McGregor seems to be the only one what this view on Episode One. Actor Liam Neeson, who plays Jedi Knight Qui-Gon Jinn in Episode One, says, “It had to be a leap of faith, “working with CG F/X (Corliss, 88). In the end, Neeson claims he really has nothing to worry about because Lucas was very precise in what he wanted; this resulted in the feeling that he was in safe hands. The rest of the case and crew share his sentiment, and for those who believe the digital effects are not realistic enough and should not be used, Lucas says, “Movies aren’t true! It’s all fake! I’ve taken it to the next level” (60 Minutes, NP).