Amr Akef Gives Us the Rundown 

No longer limited by reality, today’s films can depict anything outside the realm of existence, thanks to the capabilities of CGI (Computer Graphic Imagery).

We sat down with Amr Akef, a talent whose CGI work in recent films has garnered international acclaim, to talk about his post-production house The Crew, and to see where CGI is taking the industry. 

How has CGI changed the way movies are made?

Definitely, the effect of CGI has been huge in any project we have worked on. It has given us the confidence to embark on new projects that Egyptian cinema had been afraid to engage with.

Initially, films utilized CGI to create some things not related to the drama just to create more of a visual spectacle. Right now, however, this has all changed, there are now a lot of stories based on CGI. In our series, The End, CGI was the major element.

Watch the full trailer:

In this series we were so close to the best science fiction quality in the world; we were the first Egyptian company to take the risk to work on a science fiction project with high quality, ‘no limits’ use of CGI.

If this series had failed in CGI, the Middle East would never have ventured into this field right now. Anyone who had read the script would never have imagined that we could reach this quality in an Egyptian company, with a 100% Egyptian crew, and without the support of any foreign company. So of course it is an essential element in the game.

Can you give us examples of what can be achieved with CGI? 

Towers collapsing, airplanes falling, and fires starting are all prime examples of CGI. However, the process is very difficult, considering all the complications related to the dynamics and simulation of it.

Taking the collapsing towers, for instance, things like the wall width both inside and out and even in between the walls, matter. All these details help make it realistic and are apparent within the scene.

Weight also plays a major role as it also affects how realistic the scene is, and a tower collapsing will obviously differ from a ball dropping. Working with the different layers involves the reaction between the ground and tower, all the walls, the smoke, and dust.

What are the technical steps involved, and how closely do you have to work with the rest of the production team? 

First and foremost, we read the script thoroughly to understand exactly what we should do in CGI. Secondly, we create concept art and a storyboard for the look, color palette and details of everything we’re going to do, with the director’s cooperation, of course.

Some things require pre-visualization in order to have a vision of what the work we’re doing will look like when it’s implemented. At the end, I choose the best techniques used worldwide; I don’t make it difficult for myself or my crew, this is why our work is currently one of the best in the Middle East.

How did you get into the field of CGI?

Since 2006, I’ve worked as an editor in music videos and films. Because of how much I liked and loved CGI, I started a team in 2010; I wanted to implement what I learned and take it to another level.

Our projects grew and became more intricate, as did our team, and eventually, we established our company. My role is to decide what technique we will work with because of my 10 years of experience studying CGI, as well as learning about the latest in the industry.

I have watched behind the scenes of a lot of movies and series to understand how CGI specialists get their movies done in high quality and what techniques they use. 

What special training is involved?

I studied mass communication in college, but I had been working as an editor since high school, which is why I chose this major in college. I’ve always treated my job as if it were a hobby rather than something I had to do. As a result, I’ve learned a lot from the internet regarding making movies, behind the scenes and VFX breakdown.

What have been the most challenging projects you have worked on to date, and how did you meet the requirements?

The best and most challenging projects I’ve worked on recently were The End, El Deeb and El Ens W El Nems.

The End, the first science-fiction series in the Middle East, was a 4000-shot project. The script was written by Amr Samir Atif and Yasser Samy. It was extremely difficult for anyone to imagine the world in 2120. The cities, the people, literally everything.

El Deeb came as a new project, using a new technique that many people have tried to use before and failed, posing a challenge for anyone willing to take the risk, but we tried and we succeeded as The Crew, the first company in the Middle East to do face replacement. And in El Ens W El Nems, 80% of the film was built on CGI.

Which movies with CGI have been an inspiration for you in recent years?

For me, Peter Jackson’s work in CGI, as the director of Lord of the Rings and The Hobbit, is unrivaled. This director can create worlds and make you believe in them as if they were real, and he uses extremely difficult techniques. All the Avengers movies as well, I can’t pick just one, but Lord of the Rings and The Hobbit still remain my favorites.

Do you see CGI being used more and more?

Without a doubt! CGI is the element that will define how everything, from the production team to the director, will work. There are numerous projects that are currently based on CGI.

What are you working on at the moment?

Currently, I’m working on a film directed by Yasser El Yasry that could be one of the largest visual effect films in the Middle East. We’re creating four completely different worlds from A to Z, and it will include numerous graphic techniques that no one could have predicted we’d achieve. This is our most recent work that will be released soon. 

We are also currently working on El Deeb, a series that will include many mysterious and difficult elements. In addition to two major projects in CGI with director Mohammed Samy and one with Yasser Samy, it addresses the Arab world in 2150 and how cities will look.

What would be a dream project for you?

I’d like to do a project about the history of ancient Egypt’s architecture, houses, and everything else in the Old, Middle, and New Kingdoms, and in particular the Fatimid and Pharaonic periods. In addition to that, I want to develop a unique project about Islamic culture.

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Let’s get a little astrological insight into the amazing talents who light up our screens. What gives them that special something, that unique spark that delights and entertains us? Egyptian celebrity horoscopes

Aries:

When the director calls, “Action”, that is their cue. Enthusiastic, physical, adventurous and up for any challenge, your typical Aries loves to be a pioneer and would take on a groundbreaking role with relish. Ardent in their expression and affections, they bring a burst of energy to any scene.

• Kinda Alloush – 27^th March
• Amy Samir Ghanem – 31^st March
• Jamila Awad – 6^th April
• Amr Waked – 12^th April

Taurus:

Artistic, musical, gracious, comfort-loving and dependable, Taurus is ruled by Venus, the planet of beauty. But, let’s admit, they can be a tad stubborn, as many who know and love them will confirm. Blessed with good looks, they are often very photogenic and can have excellent singing voices. Romantic roles are a natural for both guys and girls.

• Tara Emad – 11^th May
• Rami Malek – 12^th May
• Adel Emam – 17^th May
• Mostafa Shaban – 19^th May

Gemini:

Expressive, quick-witted and brimming over with nervous energy, Geminis thrive on roles where they can delve into the layers of a character, with all its complexities. They are natural comedians and can pick up accents in a flash, making them versatile and in demand as performers. Don’t leave a Gemini hanging around too long between takes, their low boredom threshold is well-known. Egyptian celebrity horoscopes

Mohamed Ramadan – 23^rd May

Cancer:

Sensitive, intuitive, emotional, with loads of empathy, Cancer needs to be handled with care. Hurt their feelings and it may take time to get back on their good side. Roles that play on the audience’s heartstrings are a natural for this moon–ruled sign, even though in real life they can be a lot more resilient than expected when the going gets tough.

• Ghada Abdel Razek – 6^th July
• Shereen Reda – 12^th July
• Menna Shalabi – 22^nd July

Leo:

King of the jungle, star of the screen, it all works for Leo, so long as they are in the spotlight and can let their flair for drama have full rein. Natural showmen and women, they are totally at home in front of an audience and have natural confidence and talent to match. Starring roles are fine with them, co-star just doesn’t have the same ring to it, does it?

• Ahmed Ezz – 23^rd July
• Amir El-Masry – 2^nd August
• Yosra El Lozy – 8^th August
• Karim Abdel Aziz – 17^th August

Virgo:

Thoughtful, detail-obsessed, critical and perfectionists, Virgos are naturals for introspective roles with complex characters. Often exuding a natural modesty and shyness, they can feel more comfortable in roles with a certain decorum. That being said, we still can’t overlook two Virgo ladies who absolutely sizzle on screen – Raquel Welch and Sophia Loren! Egyptian celebrity horoscopes

• Khaled El Nabawy – 12^th September
• Mohamed Adel Emam – 16^th September

Libra:

Another sign known for charm, good looks and grace; Libra fits romantic roles to a ‘t’. We are racking our brains to think of any Libra who can play a villain really convincingly. As for the ladies, they have captured the hearts of millions with their own exquisite brand of femininity.

• Arwa Gouda – 27^th September
• Nour El Semary – 28^th September
• Ahmed Malek – 29^th September
• Ahmad Dash – 15^th October

Scorpio:

Subtle, intriguing, deep, magnetic, and often downright seductive, Scorpios can handle any role you throw at them. Hero, bad guy, heartthrob, you name it, but never the wimp. Women born under this sign don’t need to be noisy or flashy, they can hold your attention simply by being on screen. Call it the ‘it’ factor. Hend Rostom had it in spades.

• Amina Khalil – 26^th October
• Khaled Abol Naga – 2^nd November
• Eyad Nassar – 9^th November
• Mohamed Farrag – 15^th November
• Ahmed Helmy – 18^th November
• Mona Zaki – 18^th November
• Hend Sabry – 20^th November

Sagittarius:

Looking for an action hero who will charge his way through his role, defending the helpless and standing up for what is just and righteous? That’s your Sagittarius. The ladies aren’t shy either. Giving all they have to their roles, they add energy to the screen and have an irresistible sense of humor that makes them perfect for side-splitting comedies. Egyptian celebrity horoscopes

• Khaled El Sawy – 25^th November
• Dhafer L’Abidine – 26^th November
• Huda El Mufti – 8^th December
• Nelly Karim – 18^th December

Capricorn:

Dark and brooding, or cool, calm and collected, Capricorns excel in roles that call for a self-contained, totally-in-control demeanor. They really nail playing manipulative, ‘butter-wouldn’t-melt-in-my-mouth’ characters who have well-hidden ulterior motives. But in real life, they can be loyal friends and dedicated to their goals.

• Amr Youssef – 23^rd December
• Ghada Adel – 25^th December
• Donia Samir Youssef Ghanem – 1^st January
• Hassan El Raddad – 2^nd January
• Yasmin Abdel Aziz – 16^th January
• Mai Ezz Eldin – 19^th January 

Aquarius:

Quirky, original and often charismatic, Aquarians inject their own special aura into any role they take on. Look back to icons like Paul Newman and James Dean, their presence on screen was magnetic.

Great at improvising, Aquarian spontaneity can be a mixed blessing for any director, sometimes it verges on brilliance, and sometimes it is a step too far!

• Yasmine Sabri – 21^st January
• Mohamed Henedi – February 1^st
• Mai Omar – 7^th February

Pisces:

No surprise that Pisces is ruled by Neptune, the planet traditionally associated with film and acting. So many stars born under this sign have taken to the movie industry like fish to water, s’cuse the pun. Liz Taylor has to be one of the most beautiful, talented screen presences ever. Those violet eyes expressed it all.

• Asser Yassin – 25^th February
• Ahmed El Sakka – 1^st March
• Mohamed Mahmoud Sobhy – 3^rd March
• Anoushka – 9^th March
• Youssra – 10^th March
• Ahmed Fahmy – 17^th March
• Dina El Sherbiny – 17^th March

A powerhouse talent, Mohamed Attia is a name that rolls out in the credits of many an iconic film. As a production designer, he plays a huge role in creating an authentic, convincing ambiance to bring each scene to life.

Attia, as most know him, opened up in a candid chat and gave us insight into his work, and life.

By Hannah Sheta

You have accomplished an astonishing level of work in diverse areas of your field since you started out. What can you tell us about this journey?

The fact that I started as an architect and studied architecture gives me a background that enables me to approach production design in a way that is different. Training with big directors like Youssef Chahine and working with leading directors like Mohamed Khan, Yoursy Nasrallah, Marwan Hamed, Tarek El Erian, Ahmed Alaa and Mohamed Yassin early in my life helped me evolve. Mohamed Attia

I am picky in the movies and topics that I choose because I believe cinema is a production designer’s history. I have also worked on important events like El Gouna Film Festival, the Cairo International Film Festival, the opening of the New Administrative Capital, youth forums in Sharm El Sheikh, and finally the Pharaohs’ Golden Parade, which is something I’m very proud of.

I believe we spend our whole lives learning, and that is what I always tell everyone who works with me. Everything we do, every job we get, we always gain some kind of experience whether it be artistic, technical, administrative or even just how to get along with different people.

What is your work like?

My work as a product designer requires teamwork on many different levels. For instance, a team comprised of the director, director of cinematography and producer; and another comprised of assistants, the props crew and the workers. Cooperation with colleagues is always at the beginning of the process, at the inception of the idea. Mohamed Attia

When I receive the script from the writer and director, I begin to mull it over, and after reading it in detail, I study and imagine every aspect of it. I sit with the director to unify our vision because if our ideas don’t fit together, it won’t work.

So the most important thing is the coordination of what we each imagine; myself, the director and then the cinematographer. After that, we check with production to see what options are viable on a technical and a financial level. Our options are to either build or explore existing locations. Sometimes we may go over the budget allocated by the producer, although after a certain amount of experience, we are usually able to gauge the estimated cost.

My assistants help me with making 3D models for my sketches that we go back and forth with to the directing team, cinematographers and production team. Until we reach an agreement and we begin filming. Mohamed Attia

What have been the high points to date?

I love everything I have ever worked on. I consider them all peaks in my career, even though some had more of an impact than others, like the Pharaohs’ Golden Parade, as it was a national project on a much bigger scale.

Afarah El Obba was an important point in my career, as were both of the Feel El Azra2 movies and Welad Rizk, a very commercial kind of movie that had a lot of effort put into it. Mohamed Khan’s movies are where I started to get into production design, so they are very significant to me. Mohamed Attia

Which have been the most challenging projects and how did you manage them?

The Pharaohs’ Golden Parade was very complicated and it was the first time I had ever worked on anything like it. It was a really big deal, we knew the whole world would be watching, so it was challenging. We were moving and filming 22 kings and queens, each of them priceless, so it was scary and the work conditions were hard.

Any mistakes we made would have been a huge deal, unlike in films where we could cut and redo. Not only was it live, but it was also an important and sensitive task. Great management was more important than creativity in order to avoid making any mistakes.

What are your thoughts on recent strides in Egypt’s film industry?

It’s quite complicated. I personally feel like the role of film theaters will decrease and there will be more substitutes and platforms that will replace the role of cinema in entertainment. So making movies will look different. Even though this will create work opportunities for more people, I believe that cinema itself has a certain structure and I fear it will change.

Sometimes the lack of order in production creates a different kind of creativity. If it begins to look like mass production and there is a prototype where we cannot make changes in words or scenarios or locations when we start filming, this extreme sanctity in the rules of the platform could hinder the spontaneity, because no ideas are born complete.

We are starting to see youth come up with new ideas and movies written and created completely out of the box, so they are qualified to participate in film festivals and they win awards which shows the presence of Egypt and it’s a very positive step.

What do you have in the pipeline at the moment?

I am currently working on The Eight series for MBC and another with Mohamed Yassine for Ramadan, and in the coming two months I am supposed to work on a very important event in Luxor.

What would be a dream project for you?

A movie or production that would compete with the more developed world in terms of cinema like America or Europe. With endless possibilities that are not just money, but systems that we can manage with.

I really want to do a historical movie but without management. With the right set designer, producer and everyone in between, this would be ideal and only then can we really compete. I want the sky to be our limit.

Quickfire round:

If you had a one-month vacation how would you use it?

An island in an ocean away from the noise. I just want to free my mind and go into a different world, away from work pressures where I can restart my brain and focus on my family because work gets in the way of that.

Comfort food?

Seafood. I’m crazy about fish. And Italian food. I know it’s not healthy but I love pizza and pasta and everything Italian. Mohamed Attia

Music that relaxes you?

World music. A variety of music from around the world and different cultures. I collect music from Latin America, Europe, Russia, Pakistan, Egypt, Morocco, Africa and Asia. I love cultural music.

Last book you read?

Katiba Sawdaa by Mohamed Al Mansy Kandil

Best film watched in the past year?

A Hidden Life by Terrence Malick is the last film I saw and really liked in the past year.

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The ghosts, monsters, aliens, and magical and supernatural creatures we see on-screen and in the theatre have been brought to life thanks to special effects makeup artists! As the technology needed to bring imaginary worlds to life has been quickly advancing thanks to SFX makeup, it has become an essential part of the movie industry.

Iconic characters such as The Terminator, Dracula, Frankenstein, The Joker, The Mummy, and many more were created by great special effects makeup. SFX makeup artists also create credible-looking injuries, wounds, and surgeries in medical TV shows and movies.

We spoke with special effects makeup artist Islam Alex to gain insight into the world of SFX makeup.

By Farah ElAbd

What made you get into the field of special effects makeup?

I was studying fine arts during university because I loved painting and sculpting in particular, and when I found the special effects makeup field it was as if that career was made for me. It combines everything I wanted in a career; there’s nothing routine in it as each project is different, it allowed me to be artistic, to work with many different materials, and be involved in projects with people I admire.

I started in 2009 as an assistant to SFX artist Tarek Mostafa who really pioneered the field in Egypt. My first projects with his team were the movie La Taragoa Wala Esteslam and the series Abwab El Khof, which made me settle on this career.

Are there differences between doing makeup for movies and TV shows?

There used to be, back when the cameras that were used to shoot were different, but now it’s pretty much the same quality. Since movies are more likely to be seen at any time, unlike a TV show which is restricted to a specific airing time; movies are more favored among artists in the industry.

What have been the most memorable projects you have worked on?

My career and the projects I have worked on are divided into two phases: the first was when I was working in Tarek Mostafa’s team up until 2019, and the second started when I left and began working on my own.

During the first phase, special effects makeup was not a necessity in the movie industry, we were getting one movie or maybe two a year. Some of the memorable projects back then were El Kabeer Awy, Al Fil Al Azraq 1, Welad Rizq 1, El Harb El A’lameya El Talta, and Cima Ali Baba.

Then when I started working alone, I began with the movie 122, Paranormal series, and B 100 Wesh, which really took off in Ramadan. Most recently were El Aref, El Ens W El Nems, and the movie Reesh (Feathers) which won the grand prize at the Cannes Film Festival. Islam Alex

What makes you decide to choose your projects?

I’m not going to say I don’t think financially, but it’s not my first concern; it is the details in the project that can showcase all of the talents. I love what I do to a degree of almost craziness; I currently took on too many projects, which can cause problems because of conflicting schedules, but I couldn’t turn down any of them because of how good I think each one is!

I choose based on the details, the director, the actors, the story, and many other things such as how many difficult and different characters there are that will require a multitude of special effects makeup and materials.

How has the SFX makeup field changed from say 10 years ago?

Like I said earlier, in the past we would get a movie or two a year as there were not many or any big projects that required special effects makeup, and so people didn’t really pay attention to it that much. Islam Alex

But lately, the special effects field has started to have its own space and presence; viewers are focusing more than ever on details and their standards of makeup and effects are constantly rising, especially as they compare to foreign movies and shows.

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