VFX veteran George Murphy on AI, Virtual Production Future Filmmaking

New technologies, led by artificial intelligence and virtual production, are revolutionizing visual effects but remain “just another brush” in the service of storytelling, says VFX veteran George Murphy.

“Virtual Production is not just a VFX tool; it’s a storytelling tool that allows the actors to fully immerse themselves in the scene instead of imagining everything on a blank screen,” says Murphy. The Hollywood Reporterin an interview in Tokyo International The film festival is about to appear on Motion Picture Association panel, Filmmaking 2.0: The Evolution of Real-Time VFX for Traditional Cinematographers.

Murphy, a VFX supervisor and creative director at DNEG in London, made his film debut with Steven Spielberg’s Hook (1991), a production that was hailed for its seminal VFX, particularly its use of projected matte painting. Computerized effects were in their infancy when he joined Industrial Light & Magic (ILM). He was part of a small team that pioneered digital compositing for film and quickly recognized the potential of these ground-breaking tools to transform filmmaking.

“At ILM, we were working with Unix scripts and early computer graphics programs, but it was clear that these tools could create more believable integrated images than anything before,” he says.

Murphy’s story was in a different visual medium. “I started with the full intention of being a freelance photojournalist, covering the real world,” he recalls. “In some strange way, it was these skills of grasping reality that prepared me to create worlds that do not exist.”​

Creating these worlds and making them look believable won him an Oscar and a BAFTA Forrest Gumpand saw him direct the effects in the productions, in particular Planet of the Apes, Mission impossible, Jurassic Park, Matrix continuation and Black sails.

One of the biggest changes in recent years has been the rise of virtual manufacturing, Murphy says. This technology is popularized Mandalorianallows filmmakers to create virtual environments on LED screens in real time, replacing traditional green screens.

Murphy experienced the power of this technology firsthand on set Murder on the Orient Express back in 2016, when a train carriage was surrounded by LED screens displaying high-resolution footage of the world. “The actors didn’t have to pretend they were looking at a snowy mountain. They were immersed in it and it made a big difference in their performance. Things that happened in the past really stood out,” he notes, saying that this led to a more authentic feel, and therefore to the audience.

Responsive tools like Epic Games’ Unreal Engine and Unity have also revolutionized the VFX workflow. “These tools allow us to create, edit and test our work in real time, which was not possible ten years ago. You can see the result instantly instead of waiting for hours to render,” explains Murphy.

He compares this change to the transition from analog to digital photography: “The whole process has become much more flexible and collaborative, which allows us to explore creative choices and see what works best in the moment.”​

Artificial intelligence is developing at an amazing rate, so it is quickly finding a place in the VFX toolbox. For Murphy, AI offers both opportunities and challenges. He notes that artificial intelligence can optimize labor-intensive tasks such as rotoscoping (manually selecting elements in a scene) or tracking (following a moving object or character in a frame).

“With artificial intelligence, we can now do things in minutes that used to take hours or even days,” he says. “It gives artists the opportunity to focus on more creative aspects of their work.”​

Still, he believes that, for all its power, machine learning cannot replace a filmmaker’s creativity and ideas, at least not yet. “AI can process massive amounts of data and mimic styles based on what it has seen. But he doesn’t feel emotions, so he can’t catch the essence of a human story. This is something that only artists who have lived and experienced can bring to the project,” he suggests. ​

Another exciting development for Murphy is expanding storytelling across media and platforms. During his work on Matrix sequel, he witnessed the potential of what he calls “historical worlds.” Matrix the franchise has expanded its narrative through video games, animated shorts, and comics, allowing fans to explore the story outside of the main films. Murphy sees this approach as crucial to the future of entertainment as audiences look for ways to engage more deeply with stories.

This “multiverse” approach to storytelling is becoming increasingly popular, especially with the advent of streaming and interactive platforms. Murphy believes that as technology advances, viewers will be able to interact with story worlds in new ways — perhaps even experiencing them in virtual or augmented reality. “We’re only scratching the surface of what’s possible,” he says. “When virtual reality becomes more accessible, the way we tell and experience stories will change dramatically.”

Looking ahead, Murphy is excited about the possibilities the technology opens up, but also worried about the potential loss of craftsmanship.

“There’s an artistry in physical effects, in creating something by hand, and it’s still incredibly valuable. It gives you an awareness of reality, which is very important, even in digital work,” he explains, adding that many of the best physical model makers have gone on to VFX careers.

Ultimately, Murphy believes that technology should serve the story, not the other way around, and remains optimistic about the future of filmmaking.

“These tools are just new brushes in our paint box,” he says. “They allow us to expand the boundaries of what is possible. But the hand of the artist will always be there, guiding the story and making sure it resonates with the audience.”