It's time to call out the glaring flaws in the so-called "Latest Showreel" by the Compagnie Générale des Effets Visuels (CGEV). They tout their projects like a peacock showing off its feathers, but let's be honest: this is just a facade. The latest compilation, which includes work from films such as "The Substance," "Survivre," "Monsieur Aznavour," "Le Salaire de la Peur," and more, is nothing short of a desperate attempt to mask their shortcomings in the visual effects industry. First off, what are they thinking with the title "Mise à jour de showreel"? This isn't an update; it's a cry for help! The industry is moving at lightning speed, and CGEV seems to be stuck in the past, clinging to projects that are as outdated as a floppy disk. The world of visual effects is about innovation and pushing boundaries, yet here we have a company content with showcasing work that barely scratches the surface of creativity. And let’s talk about "Le Salaire de la Peur." If this is their crown jewel, then they are in serious trouble. The effects look amateurish at best, and it raises the question: are they even using the right technology? In an age where CGI can create stunning visuals that leave you breathless, CGEV’s work feels like a bad remnant of the early 2000s. It’s embarrassing to think that they believe this is good enough to represent their brand. Alain Carsoux, the director, needs to take a long, hard look in the mirror. Is he satisfied with this mediocrity? Because the rest of us definitely aren’t. The lack of originality and innovation in these projects is infuriating. Instead of pushing the envelope, they're settling for the bare minimum, and that’s an insult to both their talent and their audience. The sad reality is that CGEV is not alone in this trend. The entire industry seems to be plagued by a lack of ambition. They’re so focused on keeping the lights on that they’ve forgotten why they got into this business in the first place. It’s about passion, creativity, and daring to take risks. "Young Woman and the Sea" could have been a ground-breaking project, but instead, it’s just another forgettable title in an already saturated market. We need to demand more from these companies. We deserve visual effects that inspire, challenge, and captivate. CGEV needs to get its act together and start investing in real talent and cutting-edge technology. No more excuses! The audience is tired of being served mediocrity wrapped in flashy marketing. If they want to compete in the visual effects arena, they better step up their game or face the consequences of being forgotten. Let’s stop accepting subpar work from companies that should know better. The time for complacency is over. We need to hold CGEV accountable for their lack of innovation and creativity. If they continue down this path, they’ll be left behind in a world that demands so much more. #CGEV #VisualEffects #FilmIndustry #TheSubstance #Innovation

What on earth is going on with the VFX in Netflix's "The Snow Sister"? Seriously, it’s 2023, and we’re still being fed mediocre visual effects that are supposed to "wow" us but end up doing the exact opposite! The so-called "VFX breakdown" is nothing more than a slap in the face to anyone who actually appreciates the art of visual storytelling. Let’s get one thing straight: if the best VFX are indeed the ones you can’t spot, then how on earth did we end up with these glaringly obvious digital blunders? It’s like they threw a bunch of half-baked effects together and called it a day. Instead of stunning visuals that elevate the narrative, we get a distracting mess that pulls you right out of the experience. Who are they kidding? The creators of "The Snow Sister" clearly missed the memo that viewers today are not easily satisfied. We demand more than just passable effects; we want immersive worlds that captivate us. And yet, here we are, subjected to a barrage of poorly executed VFX that look like they belong in a low-budget production from the early 2000s. It’s frustrating to see Netflix, a platform that should be setting the gold standard in content creation, flounder so embarrassingly with something as fundamental as visual effects. What’s even more maddening is the disconnect between the promotional hype and the actual product. They tout the "creation" of these effects as if they’re groundbreaking, but in reality, they are a visual cacophony that leaves much to be desired. How can anyone take this seriously when the final product looks like it was hastily patched together? It’s not just a disservice to the viewers; it’s an insult to the talented artists who work tirelessly in the VFX industry. They deserve better than to have their hard work represented by subpar results that manage to undermine the entire project. Netflix needs to wake up and understand that audiences are becoming increasingly discerning. We’re not just mindless consumers; we have eyes, and we can see when something is off. The VFX in "The Snow Sister" is a glaring example of what happens when corners are cut and quality is sacrificed for the sake of quantity. We expect innovation, creativity, and, above all, professionalism. Instead, we are fed a half-hearted effort that leaves us shaking our heads in disbelief. In conclusion, if Netflix wants to maintain its position as a leader in the entertainment industry, it’s time to step up its game and give us the high-quality VFX that we deserve. No more excuses, no more mediocre breakdowns—just real artistry that enhances our viewing experience. Let’s hold them accountable and demand better! #VFX #Netflix #TheSnowSister #VisualEffects #EntertainmentIndustry

console de jeux, Xbox, jeux vidéo, transformation, créativité, gamer, innovation, technologie, PC ## Introduction Dans un monde où les jeux vidéo battent des records de popularité et d'engouement, chaque nouvelle annonce de console provoque des vagues d'excitation et d'anticipation. Pourtant, derrière cette façade d'enthousiasme, se cache une mélancolie profonde : la peur de voir notre passion pour le jeu se transformer, de perdre ce que nous avons toujours aimé. La prochaine Xbox pourrait bie...

Wētā FX’s expansion to Melbourne is being hailed as a major win in an industry riddled with closures and financial turmoil. But let’s not kid ourselves here—this is not a savior story; it’s a slap in the face to countless talented artists and technicians who are being left behind as the corporate machine churns on. While Wētā FX flaunts its 7 Oscars and 15 scientific and technical Oscars as if they’re badges of honor, the reality is that this expansion might just be another ploy to exploit cheaper labor and maximize profits at the expense of quality and creativity. In a time when studios are shutting down left and right, it’s baffling that Wētā FX thinks it’s a good idea to stretch its reach into Melbourne without addressing the glaring issues within its own operations. This is not a victory for the industry; it’s a desperate attempt to keep the lights on while ignoring the systemic problems that plague the visual effects sector. The industry is facing a crisis, and instead of addressing the root causes—overwork, underpayment, and the relentless pressure of unrealistic deadlines—Wētā FX is just trying to grab a bigger piece of the pie. Why are we celebrating an expansion that could potentially lead to more instability in the job market? Wētā FX’s move to Melbourne could mean more jobs, yes, but at what cost? What about the existing employees who are already stretched thin? What about the mounting pressure on creative professionals who are forced to churn out blockbuster effects at breakneck speed? This isn’t about creating a sustainable work environment; it’s about profit margins and shareholder satisfaction. The problem is not just with Wētā FX; it’s a symptom of a much larger issue within the film and visual effects industry. The constant churn of studios coming and going, along with the relentless demands placed on creative teams, reflects a broken system that prioritizes profits over people. We should be holding companies accountable rather than just cheering for their expansions. If we don’t start demanding change, we’ll continue to see a cycle of burnout, layoffs, and a steady decline in the quality of work that audiences expect. And let's talk about the so-called "innovation" that Wētā FX touts. What innovation can we expect when the focus is on expanding to new locations rather than investing in the workforce? New studios don’t equate to new ideas or better working conditions. It’s time to wake up and realize that this is a business-first mentality that’s doing nothing but harming the very fabric of creativity that the industry claims to uphold. In conclusion, while Wētā FX makes headlines for its expansion to Melbourne, we should be questioning the motives behind such moves. This isn’t a time for celebration; it’s a time for scrutiny. If we want to see real progress in the industry, we must demand more than just superficial growth. We need to advocate for a system that values the people behind the effects, not just the awards they rack up. #WētāFX #VisualEffects #IndustryCritique #JobMarket #CreativeProfessionals