by Blender Dumbass Aka: J.Y. Amihud. A Jewish by blood, multifaceted artist with experience in film-making, visual effects, programming, game development, music and more. A philosopher at heart. An activist for freedom and privacy. Anti-Paternalist. A user of Libre Software. Speaking at least 3 human languages. The writer and director of the 2023 film "Moria's Race" and the lead developer of it's game sequel "Dani's Race".
Think about it. It should be a high intensity moment of incredible tension. Yet the shots are so calm and so precise that you don't feel anything at all. You don't know what to feel. You notice small rendering errors from overworked and underpayed artists. And your brain comes to a conclusion that it must be CGI.
A movie where execution was so good, even though the special effects were pretty low-budget was Godzilla. I remember getting so engrossed in the moment, the epic scale of destruction that I totally forgot it was just some man walking around a miniature city.
On unrelated but somewhat related note, in Pretty Guardian Sailor Moon (2003) there were talking cat characters. The problem with having cats in a TV series:
1. They're cats, making them do anything you want is 10x harder than with dogs;
2. They don't talk.
Instead the director went with a more creative approach, what if the cats were plushies. And it worked! Watching the show, I was engrosed in the talking plushies. The only means they formulated the emotions visually was by changing the eyes. Do you need anything else?
I often hear how good action film-making is always clear and easy to follow. Camera isn't shaking like crazy and editing isn't filled with ADHD mania. Yet the more I think about it the less this makes sense.
Since the last post in this series the project I've been working on became way more ambitious. The original problem I was trying to solve, was figuring out how to use computer graphics ( mainly Blender ) to cut costs for an action scene in a movie I'm developing. It has cars, so the idea was to try to render some CG cars into real life footage. You can go read Part 2 to see my attempts at this sort of thing.
So a real cinema movie project is being developed, and as explained in my previous article about it I don't have the money to shoot a real chase scene. Instead I gonna use CGI as much as possible, to cut down the costs ( but not my sanity ).
I don't really know if all articles in this series are equal. So it could be part 4, or part 6 or part who knows what. But today I want to dump my thoughts about this video I did recently:
I'm in the middle of developing a movie in which there is a car chase. You know me I can't live without a car chase. But this time I'm trying to make the movie properly. By "infiltrating the movie industry" as some people suggested to call it. Which means ( since I live in Israel ) I need to write something that is possible to do in Israel. Getting $40 million to shoot a first feature film in Israel is not something that I can expect to happen. So instead I need to come up with something else.
Telling a story of the difficulties I went through to model this one building in Blender. The cringe, and the trauma and all of the bleeding in between.
Suppose a family, fleeting from abuse, comes seeking shelter. Do you hesitate to take them in, provide for the basic needs, when the cause of their hardship is an old nemesis of yours. One whose family and yours have been at war since time memorial.
Edgar Wright with his 2017 film Baby Driver shows that he can make some awesome clean action if he wants to. And yet watching his 2007 film Hot Fuzz you feel like something isn't quite wright. The camera is too shaky and the editing is too quick. Is he trying to "hide something"? No! He simply imitates Michael Bay, that's all.
Just a year ago we had Nosferatu by Robert Eggers. A truly horrid type of a horror film, based on the story of Dracula. A real cinematic treat for the fans of horror. But then suddenly in 2025 Luc Besson was just like... "Hey, I also made a Dracula movie". At first I was skeptical about it. Why would Luc Besson care about some horror tale? But after finally seeing it I must tell: This movie has more to do with Guillermo del Toro's Frankenstein than Nosferatu. And I am not just talking about Christoph Waltz here...
Why do people go to cinema? A billion dollar question, isn't it? Well, if you ask the Austrian School of Economics you will see that people tend to buy things they value more than the money they need to spend to buy that very thing.
On the surface level 2014 Luc Besson film Lucy starring Scarlett Johansson is a scientific thesis that is trying to say some grand truth about the world, while pretending to be an action film, to make people go see it. On the other hand though, it is an action film that injects a lot of profound-sounding pretentious pseudo scientific bullshit, to make itself appear as something better than it is: a dumb action movie. Which one of them is it? Or did I miss something?
There are 2 types of rebellious code-era film-makers: You have people like Alfred Hitchcock who's career is based on walking on the very edge of the censorship rules, and then not knowing what to do when these rules are lifted with the introduction of the MPAA rating system. And you have people like Stanley Kubrick who makes fucking Lolita under the code and then rejoices when the rules are lifted and makes fucking A Clockwork Orange. Yet, the question still stands: WTF is A Clockwork Orange?