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The Fifth Element(1997)
Director:Luc Besson
Cinematographer:Thierry Arbogast
2nd unit DOP:Nick Tebbet
Production Designer:Dan Weil
Key grip:Joe Celeste
Camera grip:Jean Pierre Mas
Stunt coordinator:Marc Boyle
Costume Designer:Jean-Paul Gaultier
Visual Effects supervisor:Mark Stetson
Creature Effects supervisor:Nick Dudman
Miniature Effects supervisor:Niels Nielsen
Visual Effects DOP:Bill Neil
Special Effects supervisor:Neil Corbould
Pyrotechnics supervisor:Thaine Morris
Luc Besson said he started writing the screenplay when he was 16, creating the vivid fantasy universes to combat the boredom he experienced living in rural France. But it didn't reach the screen until he was 38 years old; by that time, he felt he was old enough to actually have something to say about life.
According to costume designer Jean Paul Gaultier, the enfant terrible of the fashion world who once gave Madonna conical breasts, designed the futuristic costumes for The Fifth Element—more than 1000 of them. He didn't just design them, either For crowd scenes, where there might be hundreds of extras wearing his costume designs, he'd go around making adjustments to ensure everyone looked right before the cameras rolled.
According to Gaultier, Besson had lined up Mel Gibson, Julia Roberts, and Prince to play the leads in 1992, before financial problems delayed the project. (It's not clear whether any of them had officially signed on or were merely considering it.) Besson arranged for Gaultier to meet with Prince when the singer was in Paris so he could show him sketches of his designs. The meeting proved awkward (as one assumes many meetings with Prince are), and The Purple One later told Besson that he found the costumes "a bit too effeminate." It's entirely possible that the production delays would have prevented Prince from committing anyway, but it's fun to think about what Ruby Rhod would have been like in different hands. Gaultier had also unwittingly offended Prince with his description of one proposed outfit, a mesh suit with a padded, fringe-bedecked rear. Gaultier kept referring to this part of the suit as a "faux cul" ("fake ass"), but because of his thick accent, he said Prince misheard him as saying, "F-\-\- you!" Tucker has said he took inspiration from both Prince and Michael Jackson in crafting his performance as Ruby Rhod.
When filming began, the production decided to dye Milla Jovovich's hair from its natural brown color to her character's signature orange color. However, due to the fact that her hair had to be re-dyed regularly to maintain the bright color, Milla's hair quickly became too damaged and broken to withstand the dye. Eventually a wig was created to match the color and style of Leeloo's hair, and was used for the remainder of the production.
Luc Besson, an admitted comic book fan, had two famous French comic book artists in mind for this movie's visual style when he started writing the movie in high school, Jean Giraud (Moebius) and Jean-Claude Mézières. Both artists have long-standing comic book series in France. Moebius is best known for "Blueberry" and the (French) Magazine and (U.S.) movie Heavy Metal (1981). Mézières is best known for the "Valerian" series. Both series are still in production today. Moebius and Mezieres, who attended art school together but had never collaborated on a project until this movie, started renderings for this movie in the early 1990s and are responsible for the majority of the overall look of the movie, including the vehicles, spacecrafts, buildings, human characters, and aliens. However, only Giraud is credited, and even then, he wasn't even granted a premium when the movie was eventually produced.
Some of the most memorable moments from the film are views of a future New York, complete with flying cars and a mass of new and old skyscrapers. The film was one of Digital Domain’s huge miniature shows released that year – the others being Dante’s Peak and Titanic – while also heralding the fast-moving world of CGI in the movies. The New York scenes were created using a combination of CGI (for the flying cars), live action (the people), and scale models (the buildings). A crew of 80 on the production design team spent five months building dozens of city blocks at 1/24th scale.The visual effects for The Fifth Element were realized with a masterful combination of motion control miniatures, CG, digital compositing and effects simulations by Digital Domain. The flying traffic created by the visual Effects team allowed artists to create personalized license plates. Though never visible in the movie, the state slogan printed on all license plates reads "New York, The F***-You State."The people populating the roofs, decks, and windows during the visual effects sequences in New York City are the artists and employees at Digital Domain.
The text scrolling across a Times Square theater marquee as Korben dives down through traffic is actually an excerpt from an e-mail dispute between several artists at Digital Domain. Other signs on digital and practical, miniature buildings contain similar in-jokes and references and the large cylindrical tanker truck that Korben's cab almost hits at the end of his descent is decorated with the logo of a Venice, California, pizza parlor that was a favorite of Digital Domain artists.
‘You know, Mark, I don’t want to do these ‘fancy panning around and seeing the whole world shots’. I’d much rather set a camera looking down a street, having a cab rush towards me, and cut as it passes by, and then cut to a reverse of it passing by, and construct my film that way.’ – The Fifth Element visual effects supervisor Mark Stetson relates what director Luc Besson said to him about staging the film’s New York City shots.
This was Mark Stetson’s first visual effects supervisor role, this is what he had to say about it in a VFX blog article
Mark Stetson: I wasn’t afraid of the size of it. I didn’t think it was huge at the time. I mean, it was sort of standard tent pole-ish at the time and I was confident that I could do that, but it was my first one and there was a ton I had to learn, especially about digital visual effects. And I was very supported by Digital Domain. It was Digital Domain 1.0 back then, and they really gave me a great team. It was a great experience all around.
During the prep period, cinematographer Thierry Arbogast worked extensively with production designer Dan Weil to integrate various lighting units — primarily fluorescent and occasionally ultraviolet fixtures — within the sets themselves. More often than not, the futuristic spaces dictated the types of fixtures that could be used.
Arbogast had some challenges on the film he said this about the opera scene.
“Most of the lights you see in the opera house were already there. The difficulty was in lighting the people in the audience without illuminating the white facades of the balcony. Therefore, we used a lot of flags to focus our lighting precisely on the people.”
Gary Oldman played Zorg as a cross between then-Presidential candidate Ross Perot and Bugs Bunny.
In most shots of Gary Oldman, there is a circle around his head. In fact, a circle in the middle of the frame is a nearly constant motif in this movie. Bruce Willis, on the other hand, is more often framed by a rectangle or doorway behind him.
In keeping with the hands-on approach Besson established on Le Dernier Combat and has practiced on all of his successive films — Subway (1985), The Big Blue (1988), Atlantis (1990), La Femme Nikita (1991) and The Professional (1994) — the filmmaker operated the camera himself throughout the entire shoot. While such a working situation is rare for directors working within the Hollywood system, Besson prefers it because he can maintain better control of the onscreen action. "I create the frame and the movement within it," he explains. "Why lose time explaining everything to someone else? He's going to be slightly off, and then I'm going to freak out and say, 'No, this is not what we discussed. I want the camera here!' So it's better for everyone involved if I just do it myself.
"I write each action scene as if it is a ballet; the movements fit with the music. Generally, I'll shoot a fight sequence for 10 days using just one or two cameras and a very small crew. I've already written out the fight scene in my head, shot by shot. I do this for each and every sequence so that we can just shoot it, and then put the scene together in the editing room. At the same time, when you're on the set, you can have an idea at the last moment; you realize that from a different angle the light might be better, so you change the perspective [of the shot]. But I'll always write down and block out this [new] progression."
The explosion in the Fhloston main hall was the largest indoor explosion ever filmed. The resulting fire almost went beyond control. It took twenty-five minutes to put out.
At the time, it was the most expensive movie ever produced outside of Hollywood, most expensive French production history, and at $80 million USD, the visual effects budget of the movie was the highest of its time.
The wonder on Bruce Willis' face when the Diva sings is real. That was the first time he'd heard it and seen the actress in full make-up.
Bruce Willis, Milla Jovovich, Chris Tucker and Gary Oldman are all left-handed.
The director had been married to Maïwenn Le Besco, who plays the Diva Plavalaguna, since 1992 (when she was 16 and he was 33, but that's another story). She didn't want to be in the film, adhering to the old adage that married people shouldn't work together and co-workers shouldn't marry each other. But when the actress Besson had cast as the Diva dropped out, Le Besco took the part got painted blue and gave a memorable performance. Alas, Besson didn't share his wife's policy of not mixing work with relationships. He left her during the production for Milla Jovovich, whom he married at the end of 1997 and divorced two years later... then that happened
From Mental floss,vfx blog,ASCmag article,IMDb,YouTube visual element doc.
同時也有2部Youtube影片,追蹤數超過14萬的網紅Mars Hartdegen,也在其Youtube影片中提到,?? A world of natural wonders in Long An, Vietnam. Those who have a chance to take a sightseeing tour to the Mekong Delta province of Long An are advi...
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a natural world in miniature 在 再活一次童年 - 安妮媽媽Blogger Facebook 的最讚貼文
[Fuji Kindergarten]
The Best Kindergarten You've Ever Seen!
一間真正為小朋友而設計的幼稚園!作為建築系出身的我,真心希望世界各地的幼稚園也能夠如Fuji Kindergarten般,提供一個"沒有規限的生活樂園"予最天真可愛的小孩!
快聽聽日本建築師Takaharu Tezuka的TED TALK
At this school in Tokyo, five-year-olds cause traffic jams and windows are for Santa to climb into. Meet: the world's cutest kindergarten, designed by architect Takaharu Tezuka. In this charming talk, he walks us through a design process that really lets kids be kids.
其他詳細介紹(from http://www.e-architect.co.uk/)
Fuji Kindergarten, Ring Around a Tree
Design: Tezuka Architects
Around the Great Zelkova Tree
The annex to Fuji Kindergarten contains English classrooms and a school bus waiting area. A twisting zelkova tree dominates the site and while half of the building is exterior space, the footprint does not define the boundary between outside and in.
Ring Around a Tree is a small contribution to a historically complex space. Nearly fifty years ago the zelkova nearly died when it was blown over by a typhoon. Not only did it survive, but the tree has grown so large that two adults cannot clasp hands around its base. The angled trunk is perfect for climbing, with bark polished smooth by generations of small, adventuresome hands. Previously, a tree house occupied the site, so small only children could enter. Ducks lived at the base of the tree and on nice days classes were held in the cool shade.
Fuji Kindergarten, Ring Around a Tree
Each May, greenery engulfs the building. The oval-shaped plan traces the zelkova’s broad canopy making the columns and floor seem to vanish in the shimmering shadows. Existing branches take precedence and penetrate the building, and grown-ups have to crawl when ascending the stairs to the roof.
A Classroom Without Furniture
While the main building is elliptical, lacking a precise center, the annex has a clear focal point. Its original design drew inspiration from the legend of Buddha preaching under a linden tree, but the space was not used exactly as we had envisioned. Despite the openness of the English classroom, the teacher and children prefer to squeeze into tight corners and niches between floor plates. The five meter-tall building has seven levels, with clearances ranging from 600mm to 1500mm. This idea came from the school’s vice principal who requested “a classroom without furniture.” When we showed our son and daughter, they touched the ceiling with their hands, smiling. The principal, Mr. Kato, said that for children, the ceiling is like the sky – they cannot touch it. When the sky is lowered to their level, it transports them into the world of giant adults. If you visit the school on a nice day, you’ll find giggling kindergartners wedged into spaces less than 60 centimeters high.
Fuji Ring Around a Tree
Typically ceilings are taller than head height and railings secure areas where someone could fall. Here, however, the ceiling is lower than the height of a child, and there are many steps without guardrails. Before we opened the school to the kindergartners, I brought my own children here to play. Just as we had expected, there were a few small bumps and bruises, but certainly nothing serious. What we could not ignore was when my children began climbing over the handrail and out onto the branches of the tree, this was dangerous. We solved this issue by tying ropes around certain areas. For the principal, they are a safety measure, but for us the ropes capture a positive aspect of the design. If we had begun by considering safety as our primary option, the building would never have been realized in its current form. While even a 50cm height can be hazardous for children, learning about these dangers and gaining control of one’s surroundings are important parts of a child’s education at Fuji Kindergarten.
The highest platform is one meter off the ground, a step manageable for a bold kindergartner. The flooring material is a cork-like En Tout Cas that protects children when they tumble or fall, although there is no way to avoid injury 100% of the time. According to Principal Kato, children who do not learn how to avoid minor injuries can experience much more serious accidents as adults. Rather than coddle a boy with a broken arm, the principal proclaims the cast “cool” and presents him proudly to the class as a hero. Of course, a broken arm is much different from a broken neck or back. There is a difficult balance between safety and educational principles. We had to make the space first and see how it could be improved, the ropes being one example of this process. As the tree grows, its relationship with the building will change, and the positioning of the ropes will change as well.
Minimal Structure
The building’s structure is extremely thin. This was important because with rooms less than one meter high, it was conceivable that the structure could be larger than the spaces themselves. The floors are reinforced with 9mm steel ribs and most of the columns are smaller than 30mm square, almost furniture-like dimensions. At this size, the structure is even thinner than the tree branches. The ribs under the roof look like the veins of a leaf, but they were not intended to mimic the tree. Instead the form is a natural result of a rational structural analysis. The low floor-to-floor heights, allow the columns a larger slenderness ratio. If we assume a ratio of 1:40, a ceiling height of 1.2 meters allows a column width of 3cm. The horizontal loads are supported by eight vierendeel plates, four span the circumference and four align on the radii. Each column and beam is unique in section, using only as much material as is necessary. Although we are not imitating the tree per se, the result is a form that is extremely close to that found in nature. We conducted an excavation survey in order to avoid building over the zelkova’s roots. A concrete slab foundation sits on carefully placed stakes. Countless miniature light bulbs appear like a swarm of fireflies alighting on the tree – a traditional symbol of summertime in Japan.
We named the project “Ring Around a Tree,” a name suggested by Peter Cook who, upon visiting the site, recalled the English children’s song “Ring Around the Rosie.”
Ring around the rosie,
Pocketful of posies,
“Ashes, Ashes,”
We all fall down!
a natural world in miniature 在 AiClay Facebook 的最佳貼文
Here is a long post.
This is Daniel Lim and yesterday he gave me a precious early Christmas gift. A gift of "Ah, so this is why I do what I do."
He asked during lunch, so what's the mission statement of AiClay? My mind went blank. Apparently there wasn't any I could think of.
Then Dan spoke. And in the next few sentences, he summed up what I had buried deep in my heart and consciousness, but never had the words to convey.
The following is in Dan's words (and some mine).
Miniature food sculpting (and most forms of crafting). It's about sitting down, and letting all your energies flow towards the clay in front of you. I could be texturing a cake, putting on tiny decorations, rolling thin strands of noodles.
It was the natural act of anchoring oneself in the present, with neither burdens of the past nor worries of the future.
There is so much noise in our world today, with everything clawing for our attention. It's no wonder why attention deficiency is a serious issue in both kids and adults alike. Which makes immersing in the here and now really important.
The crafting process really does wonders for your soul.
For those who've attended my workshops, many have reflected at the end, that they don't even know where the hours disappeared to.
So if anyone asked what's AiClay's mission statement again, this is my answer. To practise living in the present, through the miniature food sculpting process.
Thank you Dan, for gifting me the words to what I had always known in my heart.
Also, Dan is the founder of Happy Academy, head to www.HappyAcademy.co to find out more! ☺️
a natural world in miniature 在 Mars Hartdegen Youtube 的最讚貼文
??
A world of natural wonders in Long An, Vietnam.
Those who have a chance to take a sightseeing tour to the Mekong Delta province of Long An are advised to head for the wonders park in My Hanh Bac Ward in Duc Hoa District to admire some of the world’s renowned miniature wonders such as the Eiffel Tower in France, the Statue of Liberty of the U.S., the Opera Sydney House in Australia, the Tower Bridge in London and the Taj Mahal in India.
Nestled in the residential area Cat Tuong Phu Sinh in My Hanh Bac Ward, Duc Hoa District, the park covering an area of around one hectare attracts a huge number of local youths, photographers and especially those who have no chance to take extravagant trips to foreign countries.
Built early this year, the park characterized with breathtaking wonders in the world is overcrowded with visitors who are from not only Ho Chi Minh City but also in neighboring provinces on weekend days.
The free-entrance park is open for all visitors, tourists have a chance to witness the Statue of Liberty at the wonders park in Long An Province, Vietnam.
a natural world in miniature 在 Hak Me Youtube 的精選貼文
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