New technologies driven by artificial intelligence and virtual production are profoundly changing visual effects, but they are still “another brush” in the service of storytelling, he says VFX veteran George Murphy.

“Virtual production is not just a tool for VFX; it’s a storytelling tool that allows the actors to feel completely immersed in the scene, rather than having to imagine everything on a blank screen,” says Murphy. The Hollywood Reporterin an interview in Tokyo International The film festival before appearing on Film Association panel, Filmmaking 2.0: The evolution of real-time VFX for traditional filmmakers.

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

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

Murphy’s background was in another visual medium. “I started out with the intention of being a freelance photojournalist, covering the real world,” he recalls. “In a strange way, those abilities to capture reality prepared me to fabricate worlds that don’t exist.”

Creating those worlds and making them seem believable earned him an Oscar and BAFTA for forrest gumpand saw him overseeing effects on productions, incl Planet of the Apes, Mission: Impossible, Jurassic Park, matrix sequels and Black cloths.

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

Murphy experienced the power of this technology on set Murder on the Orient Express in 2016, where a train was surrounded by LED screens displaying high-resolution images of the world speeding by. “The actors didn’t have to pretend they were looking at a snowy mountain scene. They were immersed in it, and that makes a huge difference in their performance. Things passing by would actually catch their eye,” he notes, saying it led to a more authentic feel and therefore an immersive experience for the audience as well.

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 a decade ago. You can see the result instantly, instead of waiting hours for a 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, allowing us to explore creative choices and see what works best in the moment.”​

With AI advancing at an astonishing pace, it is quickly finding a place in the VFX toolkit. For Murphy, AI offers both opportunities and challenges. He points out that AI can streamline labor-intensive tasks such as rotoscoping (manually isolating elements in a scene) or tracking (following a moving object or character in footage).

“With AI, we can now accomplish in minutes what used to take hours or even days,” he says. “It frees up artists to focus on the more creative aspects of their work.”

However, he believes that for all its power, machine learning is no substitute for a filmmaker’s creativity and ideation, at least not yet. “AI can process huge amounts of data and imitate styles based on what it sees. But it doesn’t experience emotions, so it can’t capture the essence of human storytelling. It’s something that only artists who have lived and felt can bring to a project,” he suggests. ​

Another exciting development for Murphy is the expansion of storytelling across different mediums and platforms. During his work at matrix next, he witnessed the potential of what he calls “storyworlds.” matrix the franchise has expanded its narrative through video games, animated shorts, and comics, allowing fans to explore the story beyond 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 has become increasingly popular, especially with the rise of streaming and interactive platforms. Murphy believes that as technology advances, audiences will be able to interact with story worlds in new ways — perhaps even experiencing them in virtual reality or augmented reality. “We’re only scratching the surface of what’s possible,” he says. “Once VR becomes more accessible, the way we tell and experience stories will fundamentally change.”​

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

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

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

“These tools are just new brushes in our paint box,” he says. “They allow us to push 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.”