Vietnam’s Film Industry: Strivingโ for “Invisible” VFX
Vietnam’s film industry is rapidly advancing its visual effects (VFX) โขcapabilities, prioritizing seamless integration with storytellingโข over flashy displays โof technology. A recent project exemplifies thisโ shift, โdemonstrating a commitment to detail and efficiency that rivals โฃinternational standards.
the production team for this unnamed war film meticulously recreated environments, including Tacon airport scenes, through the addition of components, synchronized lighting, full block scanning, and 3D rendering. A key focus was the removal of any โmodern elements thatโ would disrupt the historical accuracy โof the scenes. Even seemingly โขminor details, like sculptures, were painstakinglyโ modeled in โฃ3D โand animated to appear natural. Thisโ dedication to accuracy stemmed from the principle of “invisible art,” championed by Dang โTai Fuen โฃ- the goal being โคto immerse the audience in the narrative without drawing attentionโ to the special effects themselves.
To achieve this level of realism, the โฃ3D art team โlived on location throughout the 81-day shoot, fostering close โcollaboration โwith โthe director and crew. This resulted in a remarkably swift turnaround: the project moved fromโข initial stages in March toโ final reviewโฃ in โฃJuly, with completion by the end of August. This timeline is particularly impressive considering that war film VFX typically require at least a year toโฃ produce.
This emphasis on in-camera work is a lesson learned from previous projects, as highlighted by Bui Tak Chuyan.โ He noted that relying heavily on post-production โขVFX can be costlyโฃ and time-consuming โ- possibly requiring two years โand โข$20 million. His โฃapproach prioritizes capturing as much as possible practically, collaborating closely with VFX experts to supplement with effects that are unachievable to achieve through conventional filming methods. “This is effective โandโ can reduce costs,” he stated.
Theโ growth โฃof theโข VFX industry inโ Vietnam โisn’t accidental,โ according to the Vietnam Visualโข Effect Animation Associationโข (VAVA). โคVietnamese โขstudios are increasingly involved in international projects, showcasing their skills on a global โฃstage.โ Though, challenges remain in areas โคlike cost management, production timelines, and maintaining consistent quality, particularly ensuring VFX enhance the narrative without disrupting the viewer’s experience.
Recent films demonstrateโ this progress.โข Claw featured complex character creation, including honey bears with detailed anatomical structures, and brought fantastical elements to life. โ Kien Detective: Economy withoutโค Thousand utilizedโ VFX โขin nearly 300โ scenes, from subtle detailsโ to โexpansive landscapes. Linjiang: Incarnation of Devil employed four VFX companies to produce a maximum of 600 scenes using CGI.โข Furthermore, animated films like Demen: Adventure to Swamp Village โand Chan-in Ni: Legend of Taurus โฃindicate that Vietnamese animation technology is approaching international โstandards.
Ultimately,โ the industry is moving away fromโ spectacle andโ towards using visual effects as a toolโ toโ create โคa believable and immersive backdrop for compelling storytelling. The ideal โoutcome, โขas โขthe article concludes,โค is for the VFX to be “invisible,” allowing the audience to connect with the characters, events, and emotions of the film,โ rather then focusing on โthe technical artistry behind them.
Source: https://www.sggp.org.vn/Ky-xao-phim-viet-huong-den-vo-hinh-ma-hu-huu-hiu-post861.html**