What is going on guys welcome back to the channel critical overload here since I'm about a few different topics in this video here today We'll be talking about a quiet place day one We'll be talking about scream six going over an update on that kind of a cliff notes version basically what the other video I uploaded earlier. We'll be talking about saw X and we'll be talking about welcome to dairy So just to kick it off with a quiet place day one Joseph Quinn is negotiating a leading role apparently for a quiet place day One so they'd be starring alongside Lupita Nyong'o who was also expected to appear in the upcoming spin-off movie set in the same Universe of the two a quiet place movies that exist already regarding the Abbott family that we know was held by John Krasinski Starring him and his wife Emily Blunt and their kids now if the name doesn't ring a bell Then the images on screen obviously should help because yes This is Eddie the fan favorite stranger things for season 4 character that we met earlier this summer in that in that great Season from Stranger Things no plot details are known But again going off the title it should be more than safe to assume that the film will be set on day one of these creatures Invasion to earth that we saw play out at the start of a quiet place, too But that again was focused on the Adam on the Abbott family mostly but now we're gonna shift away from the Abbots So the hope from the studio apparently according to deadline is that this film can play a part in helping them establish a universe of movies To explore so I've touched on that already how I would not have mined if this somehow becomes our big screen Universe movies that are kind of in the same vein of what the walking dead is the TV It's just a matter of okay Are you going to know when to quit when you should quit or are you just gonna keep on cranking them out? Will we end up in a situation where this is like the soft franchise? I hope not because I really do not think you need to go on even as long as the walking dead did well I think that's a great show in its own right You know certain things you don't have to keep going and going and going and going just because you can so we'll see How that goes but and we'll also see if Joseph can make it out of this project alive And yes, that is a joke about Eddie's death in Stranger Things I'm definitely more excited currently for Lupita's involvement, but we'll see how he contributes to the overall plot Just a touch on scream 6 this again update That's basically a cliffhanger shorter version of my video from earlier if you missed that or just want a cliff notes version So viewer non has had contact with two new sources that have let it be known that the scream 6 trailer is ready That's one thing viewer non has seen it. That's another thing Gail has a phone call with the killer during this trailer I guess because he made that known on his Twitter account She seems to have a snarky comment about this being the 10th person to try this which again is very in line But what you would expect from gail weathers finally getting a phone call and talking to ghost face actually Now the title for the movie according to viewer non is expected to be screen vi Which is just Romeo numerals for screen 6, but I feel like it's going to be carved out in the m-shape That is also what my hope is I said that in my video earlier and Kirby is now an FBI agent now some people hearing that if this is your first time hearing that Kirby's role seems Seen shocking and random to some but remember we haven't seen her in years and with the missing context Plus the fact that she was left for dead for now. That's why it seems random It can easily be explained with a scene of her confessing why she joined and maybe do we played a part in her career path? Who knows I'm just hopeful It's tight to her using her trauma to stand up and help others I do think it is somewhat necessary to kind of explain why she joined the FBI and not let it just Randomly play out although if it randomly plays out and it's something that's still giving her a well-written arc And something to at least do make her important to the story most stories and horror more so than her involvement in screen 4 Then I will still give it a pass the only neck the only knockout would give it is the fact that again You made it seem too random You didn't give enough context to why she's even in a role like this after the last time We saw her she was laying in a pool of blood But I have trusted they are going to utilize this character quite well And I have trust and more confidence in the fact that I think she now will make it out of the movie alive And that they are somehow using this FBI role to bring her back for a potential sequel if that is the route They choose to take it's an easy end if Hayden wants to do it Obviously an easy way to keep the character back involved since that's kind of tied in with law enforcement So just to jump into welcome to dairy HBO Max head of original Sarah Arbery made these comics recently to variety Regarding welcome to dairy to let us know what to expect. She said that we have been working with Jason Fuchs Brad Caleb Kane Andy Muschietti and Barbara Muschietti very close closely. She told variety They're so deep into this mythology and they have such a firm handle on the storytelling around these characters and also the Demented scares they're putting into into things sometimes unlike what's wrong with you just all the wild ways They think up to terrify us you'll be hearing more concretely about that development very soon She also noted Muschietti is very involved in every bit of this So hopefully this leads to a great show because those are wonderful comments to hear from her now again I touched on her comments in another video separately about this show all together where it seems like this is a priority for them Which gives me a very confident feeling about what they want to do with the show and how this something They seem to want to actually be great and something that can hopefully stick around for a while Maybe three seasons max and of course Hopefully Bill Scars guard is here for the fun by returning as Pennywise and remember this series is expected to begin in the 60s while leading up to the events of it chapter 1 and it chapter 2 No specific no specific plot details have been revealed just yet But that is what is expected because variety reported earlier in the year that this show is most likely going to be taking Place in the 60s leading up to the events of it chapter 1 and it chapter 2 now My hope is that they will shed some light on some of those earlier events that they touched on In it chapter 1 when they were young and maybe we'll see that play out in the 60s in this prequel Welcome to dairy. So we'll see what happens in what they have to offer us I'm still predicting that this show will air sometime in 2024 if they really are trying to craft the best thing possible I don't see it happening in 2023. I see it happening in 2024. That's just me. You might have a different opinion on it I don't know that many of you myself included would want to see this sooner rather than later because you might be starving for some Pennywise content, but just to kick off or in this video wrap it up with saw X We got our first look at Tobin Bell on the set of saw X here He is in this image here now the young individual you see here I've seen some people already speculate that this could be the character from Spyro like a young a young William who we know spoilers ahead for Spiral William ended up being the one behind what he behind the jigsaw copycat activities in spiral from the book of saw So I've seen people speculate that could this kid be a young William interacting with Tobin Bell's jigsaw Now the other thing I've had some people mention is that of course obviously Tobin Bell doesn't look that youthful I don't think they're going to leave him looking like this They might try to use the aging or they might just have us to spend our disbelief Which might be more difficult for others since obviously Tobin Bell's up there in age Keep in mind this movie is expected to be a prequel set in between one and two So that's where they might lose some people given Tobin Bell's obvious aging so This was your first look at Tobin Bell on the set of saw X filming has begun There are some other behind-the-scenes images of them filming that are out there I just want to share this one because I felt like it would be the one that you guys would enjoy the most if you Want to get a good first look at filming Obviously for the picture you want to see if it's available would be this a look at jigsaw But you guys can let me know what you think about all of this down in the comment section below Which of this news had you the most excited if you haven't read of course make sure you go ahead and subscribe Turn on post notification at your members of video in the description. I will have links on my social media accounts I'm on Facebook Twitter and Instagram you can message me there of course to limiters any movies news or reviews You like me to cover in the future and with all that in mind guys. I will see you in the next video


From around the globe, it's theCUBE with digital coverage of Red Hat Summit 2020, brought to you by Red Hat. Welcome back, I'm Stu Miniman and this is theCUBE's coverage of Red Hat Summit 2020. Seventh year, we've been covering the event, of course, one of the differentiatives this year is it is a virtual event. We're bringing Red Hat executives, customers, and partners from where they are around their globe to this digital event and really happy to bring back. One of our CUBE alumni is also one of the keynote speakers. He's got a new role, but lots of technology to share. Matt Hicks, the SVP of product and technologies with Red Hat. Matt, thank you so much for joining us. Normally we'd all get together, you and I are even geographically, relatively close to each other, but of course today, as we've said many times, we are together apart. So thanks so much for joining us. Hey, thanks for having me. All right, so compared to some say at the company that owns Red Hat, IBM, you're a relatively short timer with Red Hat, you've only been there for 14 years, Matt, but we've talked to you many times, OpenShift, one of the big things we talk about with you over the last few years, you're one of the founding members of that team, but before we get into it, just you've got a new role, the product pieces we said, you're kind of stepping up, filling in for the shoes that Paul has, as Paul now steps up to the CEO role. So tell us a little bit about what that means for you and your organization. Yeah, sure. So you're right, I used to run an engineering for Red Hat and now I have the scope of engineering and the business and our support organization. So Paul's previous role and it's a great opportunity. I'm excited about it. I've been at Red Hat for 14 years. I was actually at IBM prior, so the combination has been pretty significant there, but it's just the neat opportunity. I love being able to focus on the entire portfolio, focus on how it's impacting customers, especially right now. This is a tricky time right now for a lot of customers. I think Red Hat has, we're doing our best to make sure we have that value for them, just to sort of get through the crisis and pinch for them. Yeah, absolutely, Matt. Usually when we're looking at a keynote, it's celebrating some new announcement, talking about the culmination of these things. And there's a real effort, of course, to set a nice balanced tone here. Of course, you've got lots of critical companies that rely on Red Hat technologies, on your partner solutions to make sure things work. So, bring us in a little side, basically the organization and how you're helping your customers in these challenging times. Yeah, I know this year we didn't make a big push in PR, hoop level, all the work. We're really proud of that work, but it just wasn't the right time to have that focus on product releases. That said, if you look at our customer base, they're pretty split right now. We have a large part of our customer base. They are folks on just weathering the storm right now. And a lot of that work is it's cost savings, it's efficiency. It's actually doubling down on their data centers, where they've got to go back to things that they own. And down that side, we've thrown a whole host of efforts at that from extending our support services. We've gone through extending our product lifestyles so customers don't get pinned and having to do an upgrade right now. We're working with Ansible and with RHEL just in how we can help customers save and get through it sort of in the way that they want. On the other side though, take some industries, whether they're developing a vaccine or shipping, one of those, they're exploding. Like they need to scale and push and we're making sure that we didn't hold back any technology. Because the toughest thing would be to say, well, let's take in an open shift. We have new serverless capabilities or pipelines. We didn't want to take any of those pieces away from a customer that might be needing to scale 500% right now. But it's a challenging time. We sort of have helping customers is on either end of a really, really wide spectrum. And the good news that we have, I think we have good solutions on both to help them through, but it is a unique experience for me and as long as I've been an industry, I haven't quite seen this much of a divide. Yeah, it's really, you know, Matt, I think back to, you know, I was working in the tech vendor community back when 9-11 happened and some of the rallying of the community, but this has a personal impact for everyone. It's, you know, 9-11, it was kind of everybody went home for a day and then rally the troops. You didn't make a big deal of it, but you made sure you helped those customers today. This has such a wide impact and as you said, you know, very, you know, unique time that we're living in here. One of the messages you talked about in your keynote is it was really emphasizing a message we've heard for Red Hat for a number of years, talking about how your solutions really go everywhere. And even more than ever, so some of the stories you hear about where technology is accelerating, of course, things like work from home, but also customers that are doing digital transformations or have been looking at cloud adoption, sometimes those things, they need to move through some of the last few steps even faster because they can't touch the gear or they can't access stuff or I need to get that automation going even faster so that we can leverage it. So help us walk through a little bit, you know, where your technology pieces are, you know, open shift and some of the other technologies that are so critically important for customers today. Yeah, you're touching a lot of areas. And I would say we probably saw this start and certainly been amplified in just a lot of importance with Helco. So telecom providers, as they push towards things like 5G, it's not the traditional, like you have one data center type play and that's what you control and whether you call this edge or anything else, it really, you have these multiple tiers of infrastructure and they run at massive scale. So they wanted one technology platform that could run as close to the user as possible and run in a bunch of different form factors and footprints also. And that's where we really started working with the telecom providers on OpenShift and taking some of the experience, you know, we certainly work a lot with them with OpenStack on core networks, but as things got closer to the edge that push to OpenShift is pretty prevalent. We are now seeing, and you mentioned it, where I think customers, a lot of customers are being just forced into the digital transformation journey right now. Really, like, well, everyone's home, like how do you serve your customers with this? And they're really that last mile of change is coming very quick to them. And I think we're seeing a lot of similarities with that technology base, like the same challenges that the telecom providers hit can be applied to other industries, whether it's manufacturing, others. And this, generally, we call it like, it's that edge-focused area. You don't have an infrastructure that runs in one place, you're having to aggregate a lot of it. We call this our hybrid cloud work and OpenShift is really Red Hat's hybrid cloud platform there. Yeah, you know, so often we talk about some of the hype that goes around certain words. I think about cloud native. We've been talking about cloud for so many years. Red Hat, of course, partners with all the various solutions out there. But right, when things need to get done, it's how does it help businesses? How does it help IT react to the business? And how do we make sure we stay in business? So, how was that conversation of cloud native changed? And where's Red Hat fitting in that discussion? Yeah, I think, yeah, not the best circumstance, but I think one of the things that's been really prevalent is when you see this pullback, in some cases, to data centers, that conversation about, did I build my apps to a standard that I've got to cut costs and I move them to a lower cost infrastructure for me, like right now in a week or two weeks? That's becoming pretty critical, where we've believed in that model for a long time of whether it's cloud native services, building them to a platform that gives you that flexibility, that has become a pain point for customers right now. And one of the nice things, we've seen this in some government services, where if they're built on OpenShift, even on-premise, they're on the other side of that, where they're having to scale these services massively. They're able to take the same app, same platform, go out to public cloud providers and actually help fulfill that scale. Customers, I think, that built to that pattern, if they're contracting for a bit or doubling down on their data center, they have the same thing. They can pull back from the public cloud if they need to. But that app portability has gone from being real secondary tertiary concern to being a critical aspect of cost savings for just a lot of enterprises right now and in a shockingly short period of time. Yeah, it's interesting. When you talk about engineering groups and how they're building product, most of the development teams I talked to were distributed before this event happened. And yes, there's some adjustments that need to happen. I think Red Hat has some almost unique capabilities compared to some others out there because not only do you have your development teams, but of course, everything that Red Hat's doing is open source. So Matt, I'd love to hear your viewpoint as you think about your product roadmap and what's going to happen in 2020. How do the communities, and there's been a number of course key acquisitions that Red Hat has done over the years. So talk a little bit about that dynamic and how much this affects what's happening and how this helps Red Hat both put together the products and the portfolio that it offers. Yeah, I think you're right. We are incredibly lucky just business model-wise and even as a starting point where on the engineering team, over half of our engineering team is remote to begin with. And then on top of that, we work with open source communities where we're still just the minority presence in most of those. And so you're working with team members that you've never met. So you could say the bulk of the work that we did was really distributed. So it wasn't just a huge system shock of everybody stay productive, stay from home. The second part of those great, our strategy overall really doesn't change for us because we're seeing a lot of pressure applied to it where customers, maybe a three year plan to get there is becoming their six month plan. But in terms of running infrastructure in these combinations, being able to run it in your data center, being able to scale out to public clouds and do that consistently, that hasn't changed for us. We are refining areas of making sure that we contribute and really double down on infrastructure like mission critical infrastructure like telcos right now. They're certainly going through the scale. They're going to push for things like 5G. We want to make sure we're doing everything we can for that but we were already working pretty closely with them. So not a huge strategy shift for us. It's how can we just really focus these on the value that customers need right now? We're excited about if you look in the efficiency areas and these combinations of what we're doing with Ansible, it's pretty critical to users. Like if you take a REL user that's running a data center, it's worth a gear and they need to remotely be able to manage it, control it, optimize it because they can't get people there. Great solutions around Ansible. So we're really pushing down that path. Then if you look at other areas like with OpenShift, some of the management work we've been doing or the scaling areas, if you go through serverless models or pipelines, like if you're in the shipping industry or you're in pharmaceuticals working on vaccines, they have massive scaling needs right now. And so they're pushing very hard on that sort of new technology. All right, well, Matt, there is one technology area that I'd love to get your view playing on. Talked a little bit about in the keynote, definitely.  The latest is going on with OpenShift and a big piece is the virtualization with OpenShift virtualization. As I mentioned at the beginning, you're one of the founding members of the OpenShift team. So as you look at bare metal, virtualization, containers versus VMs, public cloud on-premises, give us your viewpoint as to really where we are in 2020 and how some of that journey has changed over time and how Red Hat might have a slightly different view of how things should be built and where the future should go compared to others in the industry. Yeah, no, I'm really excited about this area because if you look at, you know, Red Hat's sort of view on this is that we can run Kubernetes sort of as the thing that directly runs on Linux and bare metal. And for us, that's OpenShift and RAL. And it's very powerful because if you look at what virtualization came from, it was machines got really strong. And so we needed to carve them up into smaller pieces to make them manageable. That's what Linux containers do is they take a machine, they carve them up into these units and let you use all of the power on the physical hardware. And we know this world from RAL for us. Like that's what Linux does, it lights up hardware. So I think the norm in the industry for the last few years was people would still carve up machines with virtualization, then they would run containers on top. And virtualization was sort of your main substrate. And there were some challenges with that. Like containers, it's harder for them to move across those boundaries. Like VMs are isolated for a reason. We actually think, and it was an upstream project called Kubevert. Again, we saw this in the telcos pretty early where they were putting OpenShift on bare metal, on gear itself. And they were driving to run virtualization inside of that. And then really you had the flexibility of containers carving up the hardware. And when you need to bring VMs in, we can run VMs inside of containers. And that it's the opposite of how most people think about it but it gives you the best of both worlds. Cause we look at Kubernetes, it is sort of that next generation infrastructure layer and you can fit VMs very nicely into that. That's what we're doing with container native virtualization. Gives you good cost benefits on that. And also if you're going from a virtualized world to a container world, you're optimizing towards that destination with OpenShift. And it's just, it is neat technology. Cause I think most customers, they still have a ton of VMs out there. So even if they're bought off on an OpenShift path, how do they bring VMs into that story? And so that as of now, like that's something we're enabling them to be able to do. So cool technology. I'm excited about that. And again, it has a great telco focus for us right now. But I think this is one where it'll have broad reach across enterprise users too, just that are already down this journey and need to accelerate it for cost savings. That's a great solution there. Yeah, definitely from what I've learned, it's pretty empowering to really help that application development team understand really those cloud native architectures, if you will. And one of the challenges of VMs was used to just kind of stick the application in there and not think about it anymore. And that does not meet where really companies are going. Sorry, Matt, got to ask you the last question since you own product and technologies. Talk about some of the, you know, the tough areas. Where is Red Hat really working with the community to help really improve things for the ecosystem and for customers as you look out through the rest of 2020? Yeah, I think looking out for the rest of 2020, it's sort of, it's picking focus areas because the most challenging thing, you know, the nice part, especially at Red Hat too, there is a ton of goodwill. Like what can we jump in, help, what can we do? And when we looked at it, a lot of our customers, they're doing awesome things. And they're sort of in the middle of the crisis. So a big part of our focus then, making sure we help them. One of my favorite stories, it's close to really like Red Hat's ethos is Metronics, they're a ventilator, they manufacture ventilators. They open source their ventilator designs so that companies like Ford or Tesla could actually, you know, they're retooling their factories to build them. Metronics open sources so they could actually get the designs to build. When we see those things, it's just awesome. Like those are great. Like that is what for us, open source is built on. And we are really doubling down to make sure that whether it is a support case or a bug or a problem or we have to jump in and give them engineering expertise to help them scale. That has been our focus probably for most of 2020. In doing that well, I think our challenge, our hard part is just bringing focus from all of the cool things we could do to what are the things that are gonna have the most impact right now, which is, it's tough, but we have a lot of them. Like on the technology side, we have the virtualization areas, some of the work around Quarkis, like how do we bring Java workloads into this Kubernetes world? Like really good things there, but I'm sure what we know right now will unfortunately probably change again in another couple of months. So we just have to be really flexible to keep prioritizing folks on it. All right, well, Matt Hicks, taking a new leadership role is always challenging, especially in these times. So I wanna wish you best of luck and of course, thank you to the team. We always really appreciate the partnership with Red Hat to be able to share this content with the communities and always good to talk to you Matt. That was good, it's great talking to you too. And maybe next year it'll be, we'll be back to the in-person. Absolutely. All right, lots more coverage from Red Hat Summit 2020. I'm Stu Miniman and thank you for watching theCUBE.


Something weird happened with your mom. Oh yeah, what? She's never done this before but she wanted me to pay her in spaghetti for sex. Okay. Makes her a prostitute. Banger!  I'm Rick. You can follow us on Instagram, Twitter for more juicy content. Thanks for watching. Don't forget to subscribe to like button. Today we have a video. This is a, it's called India's VFX Revolution and it's Oscar-nominated RRR VFX Breakdown but it's not from the, it's from IGN India. And so this is a user on a thrilling journey. I don't know if this guy worked on RRR or if he's just interview Pete Draper, the VFX lead supervisor for the film. Oh great, lead VFX supervisor, awesome. It's going to break down some of the VFX. Awesome. From India and RRR in general. And yes, we've seen in just our short stint the transformation in visual effects in Indian cinema. It's been off the charts. Yes. It's amazing. Here we go. Draper, I'm here to talk to you about India's visual effects. RRR RRR RRR We need you to know exactly where an animal is actually traveling. RRR Oh nice. RR's inputs in post-production are they're never vague, they're always to the point. He's very, very educated in that. And that's to exposure and that's to experience. Nartu Nartu was filmed over in Ukraine at the President's Palace. He was left with shoots and unfortunately there's no visual effects in that episode of the talk. RRR Shots like this, for example. Some of my favourites and the reason for that was primarily we had to make sure that there was a balance between the water and the fire. At that particular point in time there was very few of us doing it. There was no... It's not like today when you can pretty much learn anything that you want to learn off YouTube and stuff like that. So it wasn't until mid... when we started to get more tutorials, more websites and a lot more collaborative learning. So back then in the 90s there was a lot of play by ear and a lot of kind of experimenting. Look at that floppy disk entry point. Golden age if you like. I can't feel old. It did feel a lot more gorilla than what it does these days. Nowadays one quick search on Google and you can pretty much find anything you want to do. Visual effects has evolved to a degree but the processes that we tend to do and the analysis that we tend to do are pretty much the same as what they were back then. It's just that systems have got better. Computers have got better. We're still getting the same render times now as what we did then. We're just throwing more ingredients at it so to speak. Ah that makes sense. There's many signs of visual effects that the general audience aren't aware of. There's a metric ton of clean up work that tends to happen on this show rig removals to wire removals which are obvious. You see someone flying through the air then obviously they naturally can't fly so therefore there's been wires etc. or rigs that have been painted out. There's digital doubles which are utilized as face replacements but there's also things like for example set extension work which is done which has normally been called on because it's not physically possible to shoot in such and such a location because of either legal issues or logistical issues and astonishingly you no longer need a green screen to get those things out. The first meeting with RR was topography of what we called the British military base, the BNB and that was to do with climax portion. So he kind of gave us the general overview of the story. There's these two freedom fighters, you know the general kind of backstory for each one but primarily what we were trying to get our heads around was the topography of this particular space because it was integral to not only the climax but also key stages or key events within the actual primary story so we knew we needed to know where the actual officer's mess was, where the training grounds were where the ceremonial grounds were, where the main artillery was. I love scent productions and each one had to be geographically placed because this guy needs to be able to see this place from here, this guy needs to see this place from here and so on depending on what particular beats were going to happen within the story. The police station scene itself which was introduction, we shot that at Rumoji Film City in Hyderabad based on a set which was built by Subway Cyril but the actual space itself was supposed to be in Delhi on the outskirts of Delhi and there was specific terrain to that particular area. The train was different to what we got in Hyderabad lots of ups and downs and so on so we concentrated and built the space around that particular area and populated it as much as we could doing camera. So going by the general rule of thumb of try and get as much close to camera as physically possible which will actually help you cut down your visual effects requirements so we're populating up with as much crowd as we can and generally there was on an average around about 300 crowd members, I think it peaked around about the late hundreds kind of things but largely it was around about 300 which we were working with so we were shooting a lot of plates yeah plate shooting, put them here put them there, put them there, don't move the camera and sticking them over here and shooting a plate there and jungling them up and sticking them over there which obviously increases the the shoot time but decreases the amount of time that we have to do effects you don't have to do all these crowd simulation right it looks better too, yeah real people I could see once we actually followed the general rules and building the system up and populating it that way made life a lot easier was actually not directly in front of the police station as it is in the story it was actually off to the side and the reason for that was there was a big mound there we needed to wrap up elements here before we could actually go across and shoot there, we also then had two units one shooting here, one shooting there just for kind of b-roll that kind of stuff so there was a lot of shots where you had for example if you were shooting from the mound looking towards the police station the police station was CG, if you were shooting from the police station looking towards the mound the mound was CG and vice versa so that's the kind of general rule of thumb that we have there is one shot in that entire episode which a lot of people thought was CG but it actually 90% of it was live and that's the very close shot of Ram's eyeball when you're seeing the reflection of the camera Wow, I was dead certain that was CG the only CG in it if you pause it you can actually see the mound has been added in the background and some additional crowd has been added in the reflection of his eyeball that's the level of detail we're dealing with so for Beam's introduction it was primarily shot over in Bulgaria it was actually the location was sourced by a guy called Judy who was one of our fight coordinators primarily because they managed to because of shoot schedules they were trying to shoot outside of Delhi for this particular location so they give that kind of lush green feel which is in complete contrast of Ram's desolate barren and dry I love that shot it's a great shot the locations wise they found this forest over in Bulgaria but still they wanted areas which were furlies which was native to India to be brought over so we'll see what the other director brought in this year partial size trees they brought a native vegetation from India I love that which we also reused in the climax so the entire sequence the regular audience would have noticed shots was blocked animated, timed by a company called Concept which is based over in LA that's Rajah Mooli as the tiger they knew what angle scene he was to shoot they knew the timing how it was going to be and whether or not there was any additional cutaways that they needed to shoot any additional angles because they were I want to see Rajah Mooli's storyboard block it out shoot the thing is that Rajah Mooli? and he was just a moment ago in harness in the soundstage so everything had to be neatly planned and executed well in advance that's a hard CGI shot all that managed to be able to be achieved look at all the leaves that's not just for the camera placements it's for the animation of the tiger it's for the animation of the character also yes this is the scene we saw those other guys break down for the practical and the CGI the bridge scene was actually supervised by the universe man who was the principal supervisor on the entire show this particular episode was a combination of a lot of live action in camera stuff but a lot of miniature and what they call bigatures it's not a miniature just because of elements such as fire and water fire and water you can simulate them that's okay it's very computationally intensive and it's tough to get all the little nuances right you can shoot if you can the problem with those shooting miniatures of fire is that fire doesn't scale same with water the size of the flames is going to be detasted by the air around it the physics and so on there's only so small you can go without it looking like a toy they did pretty large scale miniature works for this particular episode so what was handy was actually on set itself not only did they have the miniature work going on here but if they needed a direct reference the big one was just literally on the other side of the blue screen so just walk around all the paint works like that just so everything gels together so we actually only had one section of live here which is where the two where the bike and the horse meet and the other one is basically over in the far corner over here which is where beam and his cohorts are meeting by the other side the bike itself for the live part was just ridden normally by taracle or some performer but there was a rig that was built for the skid going across and that last shot where the horse pulls up against the railing that was actually the short horse that was done by the same company my favorite scene I've seen was this one well done because that's where you guys got to show off Wooohooo I'm not used to problems to try and overcome coming out of Covid gradually phasing back in to the office and back into studio the actual entire episode itself was challenging to shoot because of the limited amount of people which were allowed on set the amount of extension that we had to do as a studio compared to earlier on with all the animals coming out which was largely live backgrounds and just digital animals were the important we had to recreate all of that in the background itself because we had a limited amount of cameras to play with shots like this for example were some of my favorites absolutely iconic a balance between the water and the fire this guy could not be more powerful than this guy this guy could not be more powerful than this guy so out of the amount of iterations that we went through on some of these ones what we ended up having to do was when we had the two guys side by side rolling together where the fire trail running through where the water trail trying to run through trying to control that water spectacular utterly spectacular this one didn't look like it was flinging out too many sparks so it wouldn't overpower that the volume of sparks even on this was equipped with balanced out the amount of water in the previous shot this one worked really well because we knew for a fact that we got this concept work sent to us from the production department, from the director himself and when he sends these we know every single thing on this to the particle that needs to be replicated there's no ambiguity didn't even need to say it for the animal havoc episode there's a lot of pre-production involved in this so we needed to know exactly where an animal was look at the saliva on the fangs that was encountered previously as jr. Marley the vfx supervisor stated was that when you're filming something in camera the problem is there's nothing there there's no reference as to where the dp needs to frame next and how fast it needs to frame so there's a lot of pre-production to determine exactly how fast an animal would run from point A to point B attack something from point C has to be justified by the movement of the actors without the animals yes but the dp the camera operator had something to refer to as well to frame up there was right how much space do we leave in the frame to fit the animal to make it believable program running to showcase exactly how far and how fast these things were jumping like the scene where a beam jumps underneath the tiger that's trying to claw him as it flies over him that had a strip that had something for the actor to interact of and had something for the dp to interact of as well there's so much the first one was actually shot in 2 else 3 locations so initially we actually all at build up where beam is tending to arms injuries the initial arrow fight the initial reveal of ram and the fire coming out and setting light to everything outside the studio for that was primarily control that we could control the space control the environment we could shoot during the day and we could extend through and design the background of framing how we wanted to such an epic fight scene man the bike stopped coming through and things started blowing up it's a bit more dangerous to do that on the studio floor and so it's a lot more tough to control safer to do it outside so that was shot at night on location again at rfc just on the outskirts but tying all this together there had to be this geography and this goes back to all the way through to the pre-production planning at the beginning the center around the temple should be this sort of foliage then we should have this dry grass space and then we have this more open cultivated area and then that leads on to the armory building so this goes all the way back to the initial discussion that we had a few years prior that this should lead to that, to that, to that Rasmussen's inputs in post-production are they're never vague they're always to the point they're always to the money and the good thing about working with him is that he knows he speaks the same language with regards to terminology for visual effects so he knows about the modeling he knows about the compositing he knows about the effects work he knows about simulation work he's very very educated in that and that's to exposure and that's to experience so for the set design and for the relative obviously same CG extension that we were doing there has to be obviously a synergy there so the type of research and the period pieces for example signage for the building styles and what have you we're doing a lot of reference we're doing a lot of research into how things looked that's production design still existing in north India and also the architecture in the UK at the time as well which also still exists so we're not only just using the references on one side of the actual street we're using on both strides there's kind of main affluent areas until we actually come to like some of the industrial marketplaces so we have that complete contrast of very very affluent architecture that's going on there there are actually some little nuances that we threw in there for example in the live set itself they added in some additional stuff like Bress' wife for example has got her own tailor shop for example she's the costume designer of the show so obviously the tailor shop works I think there was Sendil had a photography shop for example who was the DP and also we've got Sadeep's pest control which is kind of like a throw Sadeep's pest control Sadeep's pest control that's awesome throw these little kind of little easter eggs yeah so it is part of the same world 1990 was that was filmed over in Ukraine at the president's palace unfortunately I wasn't there for the shoot and unfortunately there's no visual effects in the show in that episode at all but I do know there was one or two like little bursts just added for adding a bit of smoke here in there just to kind of extenuate maybe a foot burst and that's it that's all that was done there was no re-timing I know for a fact that they're doing the action they're doing the dance masters basically making sure everybody's you know to the beat at the time and then the director is going through it frame by frame by frame you're out by three frames okay go again so there's lots of meticulous meticulous meticulous repetition of the action but just nailing it absolutely nailing it every single time great video can watch stuff like that for 12 hours so rewarding love movie making yeah that was that was great is RRR the best VFX film that we've ever seen in India without question I'm trying to think without question for me in terms of VFX work I'm just trying to think of all the action not that other films don't have good VFX in them or have moments of great VFX but the totality of the production and one of the things that's come so far with visual effects is that when you're watching something we very well may comment on something and say look at the lighting my goodness look at that shot wow look at that location you won't know unless you talk to the creative team whether or not that really was the lighting team that needs to be credited or VFX was that set design or VFX was that director of photography or was that VFX and one of the hardest things on a film that's so heavily dependent on visual effects especially when you're dealing with something where you're taking something from the real world it's different when you're taking something that's outer space and science fiction but you have to make us believe the scale of a tiger jumping over beam there is no tiger in the shot but he's going to slide and we know on set that this is what it's going to be well the director of photography and everybody's got to incorporate and then in visual effects you not only have to get it but depending upon which way fire light is going there might be a shadow cast by that animal as it's jumping it's just extraordinary what has to go into making us believe what we're seeing it's extraordinary and obviously there's no better director for it than Roger Mouly he's right up there with any of the great masters of visual effects right now like James Cameron or that's one of the reasons why I'm sure it was so rewarding for him to have Cameron tell him how much he enjoyed it because I mean there is no one's any higher in the cinematic world at visual effects creation I mean there's other people obviously Lucas is the revolutionary as was Spielberg and Peter Jackson but Roger Mouly is in that category and his team and really when you break it down like this with somebody who worked on it you really see how much was VFX and I love that he likes to use a lot more practical as well because I always and it's part of in VFX artists know this like one it'll cost you less and two it'll probably look more realistic because sometimes if you go way too VFX heavy everything looks not real and it suspends your disbelief obviously right but if you kind of beautifully incorporate it like RRR did it's just I even though like there's some great action in like Pothon but there were still obviously moments in Pothon where you could clearly see there were VFX I don't remember moments like that in RRR maybe outside of just a couple small what most of RRR and why I think it was received so well from people in the West is because they didn't have to kind of forgive those little VFX stuff like they probably used to if you saw like old action films in Bollywood or different industries because you're like you know the VFX artist the VFX work here in Hollywood is already at such a high level because they spend such a ridiculous amount of money on it in India obviously as we know it does not they spend like a fourth and have been mastering it for so long and so the fact that they didn't have to do that in RRR is one of the reasons I think RRR did so well yeah and another thing that is so infectious and contagious and speaks to the greatness of Rajamooli is if you've never worked on a project like this before what it means to be creative is involved to have a director who knows the language of all disciplines there's a level of respect that's there it not only makes the work easier but the level of respect for the director to know the the terminologies and then to see your director wanting to be in the harness I will show you what I want the tiger to do I will hold the tiger on location that hands on in the dirt nitty gritty fashion that is irreplaceable and contagious and one of the reasons RRR is what it is it's because it came from the soul of this creative that just is in every molecule of this production and if you guys want us to stop doing stuff about RRR they just need to stop releasing stuff why would anyone want you to stop talking about RRR like this was just released they just keep releasing these different things RRR is going to be talked about for decades to come people will be talking about RRR 50 years from now so you better get used to it there will be a lot of people first even if they never saw they will be like oh I heard about the way they thought of slumdog I know slumdog is not an Indian film but the way people thought about oh I've never seen a belly but I've seen slumdog is that an Indian film this one will actually be an Indian film people know about it the biggest difference because I was around and watching and paying attention and rooting for slumdog when it won because at the time it was a very good movie and everybody loved Jai Ho however there is no comparison to the level of adulation and love and open doors now people saw slumdog and liked it and then didn't think about India again that is not happening with RRR this has made people want to know more want to watch more be awaiting for what is next from Rajamuli that didn't happen with slumdog and once again it wasn't an Indian film there is that as well what a great video let us know what other videos we can react to down below