Image Capture, or the Control of Special Effects

Le résumé fourni par la source

This essay begins by considering the tension that exists between special effects and “ trucages .” Indeed, while the latter seeks concealment and integration, the former are far more exhibitionist in openly revealing themselves. This distinction then leads the author to reflect on a type of special effect that has now become commonplace, namely motion/performance capture imagery. Using the example of The Adventures of Tintin (Spielberg, 2011), he shows how this effect maintains a constant “photorealist pressurization,” all the while managing to emancipate itself from the photographic nature of camera-produced images. Next, images produced by motion capture are compared with those created with the use of GoPro cameras, as both stand together in our digital age as means to exercise mastery (as “capture”) over some exhaustively recordable reality.

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