1902 VFX vs 2020 VFX - How Space Movies Have EVOLVED!

After hearing rumors that Tom Cruise is planning to take a film crew into space to film some scenes for Mission Impossible 8, we decided we'd take a look into how VFX in space films has changed since the first Sci-fi film ever, "Le Voyage Dans La Lune" in 1902 up to present day.
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1902.
In "Le Voyage Dans La Lune" or "A Trip To The Moon" director George Melies used multiple VFX techniques throughout the film.
For the scene where the astronomer's telescopes transform into stools and the Selenites explode into a puff of smoke he used the Substitution Splice or Stop Trick technique.
This technique requires the camera operator to stop filming and maintain the framing long enough for something on set to be changed, added, or removed.

1950.
During the years between 1902 and 1950, innovation within the movie industry continued.
Sound, color, the blue screen method, and traveling mattes were just a few of the advances that were achieved during this time period and despite two world wars, the great depression, and the atomic bomb, the VFX industry continued to evolve and grow, as did our interest in space.
One of the great things about Sci-Fi films is that the filmmakers have the chance to imagine interesting ways of achieving things that mankind has yet to achieve, and then they have to somehow imagine some way of portraying them on screen.

1968.
Throughout the 1950s and indeed most of the 60s, space films pretty much carried on the same, there were different plots, some comedy, some romantic and some just straight Sci-FI but all following the same track of unconvincing model spacecraft hanging on cables and actors either acting weightless or conveniently having a gravity producing device onboard, this was so, until 1968 and Stanley Kubrick's 2001: A Space Odyssey.
In this film, Kubrick pushed the VFX team to improve and perfect methods they already used but to also imagine and invent new ones.

1977.
During the rest of the late 60s and early 70s space movies pretty much emulated what had happened after Destination Moon in the 50s, even though models were getting more and more realistic and electronics and computers began to become more widely used, filmmakers were concentrating less on making outer space realistic and more on creating fantasy worlds.
Some of these fantasy worlds were intelligent, like Planet Of The Apes, others were humorless comedies like Dark Star, and others, well, others had Sean Connery in a red diaper with knee-high leather boots and a ponytail.

1995.
With Space Science Fiction films, people just accept that they are fiction and immerse themselves in the story, for example, no one really wonders why, or how, every ship and planet in the Stars Wars films has Gravity, they just accept this as a constant, however, this doesn't work when the space film you are making isn't really Sci-fi but is actually Sci-Fact.
Apollo 13 told the true story of Jim Lovell and his crew and their fight to return to earth, but, because this was a true story that had already happened, people had already seen real NASA photography and footage, and so Apollo 13 had to be as realistic as possible.

2013.
Contact, Starship Troopers, and the Star Wars Prequels all dove deeper into the world of digital effects and techniques like Motion-capture, LIDAR scanning, crowd, particle and fluid simulations, digital lighting, and compositing were invented, developed, and improved.
By the time the film Gravity came along, the number of tools available to the VFX team was extensive.

2018.
The LightBox technique would be further improved in the 2018 movie, First Man but instead of a tiny box for just the actor, they built a 35ft tall and 65ft wide semicircle of LED screens.
These screens could project any footage they wanted, and because they were so big, spacecraft simulators could be set up in front of them, these simulators were then programmed to move in sync with the images on the screens, thus capturing the actor's performance and the complete visual effect entirely in-camera.

2020.
The Midnight Sky then took all these techniques one step further, using Anyma Capture, (a markerless facial performance capture system) and combining it with their own cutting edge proprietary shaders they were able to create hi-resolution digital faces so convincing that they were able to do full digital face replacements on the actors, the spacewalk scene alone has 70 fully CG performances.

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