關於 movie special effects ，我們在網路上蒐集到這些相關的討論、資訊與評價

REPOST Vincent Soberano
𝐁𝐄𝐇𝐈𝐍𝐃-𝐓𝐇𝐄-𝐒𝐂𝐄𝐍𝐄𝐒: A 𝐒𝐈𝐍𝐆𝐋𝐄-𝐓𝐀𝐊𝐄 or 𝐎𝐍𝐄-𝐓𝐀𝐊𝐄 occurs when the entire sequence is shot satisfactorily the first time, whether by necessity (so as to save from using expensive special effects) or by some combination of luck and skill.

This fight sequence by Wushu champion and action star Sarah Chang @starringsarahchang, with Temujin Shirzada in "Blood Hunters: Rise of the Hybrids" was shot in last waning hours of night just in time for the sun to rise. As director of the film, I was under pressure to close this sequence before dawn because we had a location change the next day. Having actors who are highly skilled martial artists and lots of pre-production rehearsals helped me bag all 52 action sequences of this movie without running out of time and budget.

【水世界】的前製設定與現場劇照

WATERWORLD (1995)
In celebration of today’s anniversary of this wet mess/epic. Let’s celebrate the hard work this crew put into bringing this world to life. Water movies are never easy but when it comes to this movie anytime you bring it up and a crew member from it is in earshot, the stories pour out. Not always bad, I know a AC that said he had a blast, he loved the boat rides out and all the camaraderie the crew had to have to get thru it. To all the crew that helped bring WATERWORLD to life, We salute you and thanks for the memories. I personally enjoy this hot mess of a movie, it’s one of the last ones of its kind...done practically...in a way.
let’s take a deepest of dives into WATERWORLD

The director, Kevin Reynolds, knew there would be problems before production had even started, “During pre-production. Because having never shot on water to that extent before, I didn’t really realise what I was in for. I talked to Spielberg about it because he’d gone to do Jaws, and I remember, he said to me, “Oh, I would never shoot another picture on water”.
“When we were doing the budget for the picture, and the head of the studio, Sid Sheinberg, we were talking about it and I said, “Steven told me that on Jaws the schedule for the picture was 55 days, and they ended up shooting a 155 days”. Because of the water. And he sat there for a moment and he said, “You know, I’m not sure about the days, but I do know they went a hundred percent over budget”. And so, Universal knew the potential problems of shooting on water. It’s monstrous.”
The film began with a projected budget of $100 million which had reportedly increased to $175 million by the end of production. The principle photography had overrun for at least thirty days more than originally planned due to one major decision.

Whereas today they would film in water tanks with partially built sets, employing green screens to fake the locations, back in 1995 they decided to build everything full size and shoot out on the ocean.

This causes extra logistical problems on top of those that already come with making a major action blockbuster. Cast and crew have to be transported to sets. The camera boats and sets float out of position and will have to be reset between takes taking up valuable production time.

The first draft of Waterworld was written by Peter Radar, a Harvard graduate who wanted to break into the film business. His contact in the film industry was Brad Kevoy, an assistant to the legendary director Roger Corman.

Roger Corman is best known for making films very quickly on a small budget. He also liked to give young talent a chance to direct and write their own films. Brad informed Peter that if he could write a Mad Max rip off, he would arrange to finance and let him direct the picture.

Radar came back and pitched the idea for what would become Waterworld. Kevoy took one look at him and said,

“Are you out of your mind? This would cost us three million dollars to make this movie!”
So Radar kept hold of the idea and decided to re-write the script but, this time, going wild. He wrote what he wanted to see on-screen, limited only by his imagination, not a real world production budget.

He managed to get the newly written script shown to a pair of producers with whom he had made contact with. They loved it and ironically they passed it onto Larry Gordon. He shared the enthusiasm saying it had the kind of cinematic possibilities he was looking for. A deal was signed on Christmas Eve of 1989.

As further script rewrites progressed, it became clear that Waterworld was too big for the Larry Gordon’s production company to undertake by themselves. In February 1992, a deal was signed with Universal Pictures to co-produce and co-finance the film. This was now six years after the first draft had been written.

Universal had signed director Kevin Reynolds to Waterworld. Whilst he was finishing his latest film, Rapa Nui, pre-production for Waterworld was already underway.

The decision was taken that the largest set for the film, known as the atoll, would be built full size. The atoll was the primary location for film and in the story served as the location for a small population of survivors.

The logic behind this decision was due to the high percentage of live action filming required in this location, as well as a huge action set piece. No sound stage would be big enough to incorporate this number of scenes and it was crucial that we see the mariner sail his boat into the atoll, turn around and set out again. A full-size construction was the only way to go as the use of miniature and special effects would be impractical.

The next problem was deciding where to build this huge set. After much research, Kawaihae Harbour in Hawaii was chosen as the location. The atoll could be constructed in the harbour and rotated when needed thus allowing for open sea in the background. Later towards the end of principle photography, the atoll could be towed out into the open sea for the filming of the big action sequences which would be impractical to shoot in an enclosed harbour.

Director Kevin Reynolds also discussed the possibility of using the same water tank as James Cameron’s The Abyss, which had filmed there around five years ago,

“We had even entertained the notion of shooting at that big nuclear reactor facility where they had shot The Abyss, to use it for our underwater tank. But we found it in such a state of disrepair that economically it just wasn’t feasible. We didn’t have as much underwater work as they did. Most of The Abyss is interiors and underwater and model work, ours is mostly surface exterior.”

The production company had originally envisioned building the atoll by linking approximately one hundred boats together and building upon this foundation, just like the characters in the film. The production crew set out to search Hawaii and get hold of as many boats as possible.

During this search, a unique boat in Honolulu caught their attention. Upon further investigation, they discovered it was built by Navitech, a subsidiary of the famous aircraft production company, Lockheed.

They approached Lockheed with the strange request of figuring out how they could build the foundations of the atoll. Lockheed found the request unusual but didn’t shy away from the challenging. They agreed to design the atoll foundation and Navitech would construct it.

Meanwhile, an 11ft miniature model of the atoll was sent out to a model ship testing facility in San Diego. Scaled wave tanks are used to determine the effects of the open sea on large scale miniature models of new untested ship designs. This would help determine what would happen with the unusual design of the atoll when it was out of the harbour.

The atoll, when finished, was approximately ¼ mile in circumference. It took three months to construct and is rumoured to cost around $22 million. As the atoll would be used out on the open sea, it required a seafaring license. Nothing like this had been done before and after much deliberation, it was eventually classed as an unmanned vessel. This meant that all cast and crew would have to vacate the set whilst it was towed into position. By the end of production, the atoll was towed out to sea a total of five times.

Shooting out on the open sea presented a series of logistical problem as Reynolds describes,

“We had an entire navy, basically – I mean, this atoll was positioned about a mile off-shore in Hawaii, it was anchored to the bottom of the ocean so it could rotate. What you don’t think about are things like, you’re shooting on this atoll to maintain this notion that there’s no dry land, you always have to shoot out to sea. Away from the land. So we chose a location where we had about a 180 degree view of open water. Nevertheless, any time when you’re shooting, there could be a ship appear in the background, or something like that, and you had to make a choice. Do I hold up the shot, wait for the ship to move out, or do we shoot and say we’re going to incur this additional cost in post-production of trying to remove the ship from the background.

And at that time, CGI was not at the point it is now, it was a bigger deal. And so, even though if you’re shooting across the atoll and you’re shooting out onto open water, when you turn around and do the reverses, for the action, you had to rotate the entire atoll, so that you’re still shooting out to open water. Those are the kinds of things that people don’t realise.

Or something as simple as – if you’re shooting a scene between two boats, and you’re trying to shoot The Mariner on his craft, another boat or whatever, you’ve got a camera boat shooting his boat, and then the other boat in the background. Well, when you’re on open water things tend to drift apart. So you have to send lines down from each of those boats to the bottom, to anchor them so that they somewhat stay in frame. When you’ve got a simple shot on land, you set up the camera position, you put people in front of the camera and then you put background in there. But when you’re on water, everything’s constantly moving apart, drifting apart, so you have to try to hold things down somewhat.

And these are simple things that you don’t really realise when you’re looking at it on film. But logistically, it’s crazy. And each day you shoot on the atoll with all those extras, we had to transport those people from dry land out to the location and so you’re getting hundreds of people through wardrobe and everything, and you’re putting them on boats, transporting them out to the atoll, and trying to get everybody in position to do a shot. And then when you break for lunch, you have to put everybody on boats and take them back in to feed them.”

The final size of the atoll was determined by the size of the Mariners boat, the trimaran. The dimensions for the trimaran were finalised very early on in pre-production, allowing all other vehicles and sets to be sized accordingly.

Production required two trimarans boats which are so called because they have three hulls. The first was based on the standard trimaran blueprint and built for speed but also had to accommodate a secret crew below decks.

During wide and aerial shots it would have to look like Costner himself was piloting the boat. In reality, a trained crew could monitor and perform the real sailing of the boat utilising specially built controls and television monitors below deck.

The second trimaran was the trawler boat which could transform into the racer through the use of special practical effects rigs. Both of these boats were constructed in France by Jeanneau. Normally this type of vessel requires a year to construct but production needed two boats in five months!

Normally once the boat had been constructed, Jeammeau would deliver it on the deck of a freighter, requiring a delivery time of around a month. This delay was unacceptable and so the trimarans were dismantled into sections and taken by a 747 air freighter to the dock Hawaii. Upon arrival, a further month was required to reassemble the boat and get them prepared for filming.

sets recreating the inside of the tanker were built using forced perspective in a huge 1000ft long warehouse which had an adjoining 2000ft field. In this field, they built the set of the oil tankers deck, again constructed using forced perspective. Using the forced perspective trick, the 500ft long set could be constructed to give the impression that it was really twice as long.

There’s more to a film than just it’s sets and filming locations. Over two thousand costumes had to be created with many of the lead actors costumes being replicated many times over due to wear and tear.

This is not an uncommon practice for film production, but due to the unique look of the people and the world they inhabit, it did create some headaches. One costume was created with so many fish scales the wardrobe department had to search the entire island of Hawaii looking for anyone who could supply in the huge quantity required.

Makeup had to use waterproof cosmetics, especially on the stunt players. As everyone had a sun burnt look, a three-sided tanning booth was setup. The extras numbering in their hundreds, with ages ranging from six to sixty-five, passed through the booth like a production line to receive their spray tan. The extras then moved onto costume before finally having their hair fixed and becoming ready for the day.

In some scenes, extras were actually painted plywood cutouts to help enhance the number of extras on the set. This can easily be seen in one particular shot on board the Deez super tanker.

Filming on the water is not only a difficult and time-consuming process but also very dangerous. It’s been reported that Jeanne Tripplehorn and Tina Majorino nearly drowned on their first day of filming.

Waterworld’s star Kevin Costner reported having a near-death experience when filming a scene in which the mariner ties himself to his catamaran to survive a storm. The pounding water caused him to black out and nearly drown.

Unbeknownst to most of the crew, Kevin Costner’s stunt double was riding his jet ski across 40 miles of open ocean between his home on Maui and the film’s set on the Big Island. When he didn’t show up for work one day, the production team phoned his wife, who informed them he had already left for work. The stunt double’s jet ski had run out of gas halfway through his “commute” and a storm had swept him farther out to sea. It took a helicopter most of the day to find him. The stunt doubles name was Laird Hamilton.

As well as the logistical problems of creating a film of this scale and on water, they also had to deal with the press who seemed intent on wanting the film to fail. Director Kevin Reynolds discusses the situation,

“It was huge, we were constantly fighting – people wanted to have bad press. That was more exciting to them than the good news. I guess the most egregious example of that that I recall was that the publicist told me that one day…we’d been out the day before and we were doing a shot where we sent two cameras up on a mast of the trimaran and we wanted to do a shot where they tilled down from the horizon down to the deck below. We’re out there, we’re anchored, we’re setting the shot up and a swell comes in, and I look over and the mast is sort of bending.

And I turned to the boatmaster and I said, “Bruno, is this safe?”. And he looks up the mast and he goes, “No”. So I said, “Okay, well, we have to get out as I can’t have two guys fall off from 40 feet up”. So, we had to break out of the set-up, and go back in a shoot something else and we lost another half-day.

Anyway, the next day the publicist is sitting in his office and he gets this call from some journalist in the States and he goes, “Okay. Don’t lie to me – I’ve had this confirmed from two different people. I want the facts, and I want to hear about the accident yesterday, we had two cameramen fall off the mast and were killed”.

And, he goes, “What are you talking about?”. And he goes, “Don’t lie to me, don’t cover this up, we know this has happened”. It didn’t happen! People were so hungry for bad news because it was much more exciting than…they just said it, and you know, it hurt us.”
Upon release, the press seemed to be disappointed that the film wasn’t the massive failure they were hoping it to be. Universal Studios told Kevin Reynolds that one critic came out of an early screening in New York and in a disappointed tone said,

“Well, it didn’t suck.”

It is true that during principle photography the slave colony set sank and had to be retrieved. However due to bad press, the rumour became much bigger and to this day when you mention the sinking set, most people assume it was the huge atoll.

During production, press nicknamed the film “Kevin’s Gate” and “Fishtar”, referring to 1980’s box office failures Heaven’s Gate and Ishtar. Heaven’s Gate failed so badly it led to the sale of United Artists Studio and has become synonymous with failure in Hollywood.

As well as the exaggerated set problems and other various production rumours, there were also difficulties with the script. In a risky move, the film was green lit and moved into production without a finalised script.

The final total is a reportedly thirty-six rewrites. One of the writers involved was Joss Whedon. Joss had worked on many scripts before becoming a director having being at the helm of both The Avengers and the sequel Avengers: Age Of Ultron. He described his experience on Waterworld as,

“Seven weeks of hell”
Everything came to a head just three weeks before the end of principle photography. Kevin Reynolds who was an old friend of Kevin Costner allegedly walked off set or was fired. There was no official statement on what happened.

When Reynolds left the production this event caused many changes to be made. Composer Mark Isham had already composed approximately two-thirds of the film’s score by the time Reynolds left and that event ultimately caused him to leave production. As Mark describes in this interview excerpt,

“Kevin Reynolds quit the film, which left me working for Kevin Costner, who listened to what I had written and wanted a completely different point of view. He basically made a completely different film — he re-cut the entire film, and in his meeting with me he expressed that he wanted a completely different approach to the score. And I said, “oh let me demonstrate that I can give that to you”, so I presented him with a demo of my approach to his approach, and he rejected that and fired me. What I find a lot in these big films, because the production schedules are so insane, that the directors have very little time to actually concentrate on the music.”
Rumours report that Costner took control of production. He directed the last few weeks of principle photography and edited the final cut of the film that was released in cinemas.

Reynolds discusses his surprise at discovering that one of the most famous scenes from what is known as the extended version, was left on the cutting room floor,

“…it would have differed from what you saw on the screen to some extent, and one of the things I’ve always been perplexed by in the version that was released, theatrically, although subsequently the longer version included it, and the reason that I did the film, was that at the very end of the picture, at the very end of the script, there’s a scene when they finally reach dry land and The Mariner’s sailing off and he leaves the two women behind, and in the script they’re standing up on this high point and they’re watching him sail away, and the little girl stumbles on something.
And they look down and clear the grass away and that’s this plaque. And it says, “Here, near this spot, 1953, Tenzing Norgay and Edmund Hillary first set foot on the summit of Everest”. And that was in script and I was like, “Oh, of course! Wow, the highest point on the planet! That would have been dry land!”. And we got it! We shot that. And they left it out of the picture. And I’m like, “Whaaat?!”. It’s like the Statue of Liberty moment in Planet of the Apes. And I was like, “Why would you leave that out?”

Written by John Abbitt | Follow John on twitter @UKFilmNerd

If any the crew cares to share any of their experiences on it please comment.
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ROBOCOP (1987) was released today.
Let’s celebrate one of the best movies ever made.

“I’d buy that for a dollar!”

The screenplay had been offered to (and been rejected by) virtually every big director in Hollywood before Paul Verhoeven got hold of it. He threw it away after reading the first pages, convinced it was just a dumb action movie. However, his wife read it all the way through and convinced him that the story was layered with many satirical and allegorical elements, after which Verhoeven finally decided to direct the film.

The RoboCop suit was designed by Rob Bottin and his team. The production team wasn't satisfied with the initial design, and kept changing it and putting additions to it for months. Ultimately, nothing seemed to work and they went back to what was pretty much Bottin's original design. This caused considerable delays, and by the time the suit was completed, it was three weeks late and arrived at the studio on the day that the first RoboCop scene was scheduled to be shot. It took 11 hours for Bottin's people to fit Peter Weller into the suit, and when it was done Weller found that all his mime exercises were now useless because he needed time to get used to the suit and to perform as a robot in it. Production was halted so that Weller and his mime coach, Moni Yakim, could learn how to move in the suit. The suits were the most expensive items on set. While the price range varies, the producers indicated that they spent anywhere between US$500,000 to US$1 million for the suit.

A very unique part of this movie like other Paul Verhoeven movies is how he brings you more into the universe, news coverage and fake commercials are featured in the film all combined are over 5 minutes long. The world of future Detroit was actually shot in Dallas, Pittsburgh, Detroit and Los Angeles. The locations were all seamlessly woven together making it feel like one city by Production Designer William Sandell.

Because the hands of the ROBOCOP suit were made of foam rubber, the car keys would bounce off of Peter Weller's hand every time he attempted to catch them. The production took up to 50 takes and an entire day's worth of filming before finally getting the shot right.

Paul Verhoeven and Robocop suit creator Rob Bottin clashed repeatedly before and during production over the design and make-up of the RoboCop character. What they argued most about was the scene where Murphy takes off his helmet. Bottin wanted the scene to be filmed in a darkened area, fearing that harsh light would reveal too much of the make-up effects; Verhoeven wanted the scene to be filmed as brightly as possible, citing that director of photography Jost Vacano would be able to light it properly without revealing anything. Verhoeven got his way and Bottin refused to talk to him any further for the remainder of production. However, at the premiere, both men were so impressed with how the scene had turned out, that they instantly forgave each other. Bottin, who had even vowed to never again work with Verhoeven, happily accepted the offer to work on Verhoeven's next project, Total Recall (1990).

To Bring ED-209 designed by the great Craig Davis to life for some of the sequences Phil Tippet and Randal M. Dutra in my opinion did some of the best stop motion work ever done, I think what makes it so epic and memorable is yes it’s super smooth and almost seamless the way it cuts from stop motion to go motion but what’s truly special to me is the amount of character and humor they were able to provide for ED-209, this being the perfect example, the way ED-209 tries to navigate the stairs its almost toddler like, the sound editors even added a baby tantrum mixed with a pig sound effect as ED-209 tries to get up at the bottom of the stairs. stop motion animators Harry Walton and Tom St. Amand also helped make some beautiful work on this sequence.

Enforcement Droid 209's voice is that of producer Jon Davison, its growls are of a jaguar, and its squeals are of a pig. ED-209's body was based on the design of a Bell helicopter and the overall appearance is reminiscent of a line of toys named Robotech (1985) which were based on a 1980s Japanese anime series.

Peter Weller said one of his favorite memories of his film career was filming the drug bust sequence. While filming the sequence, Weller was listening to Peter Gabriel's song "Red Rain" on his Walkman inside the RoboCop helmet as he exchanged gunfire with various bad guys.

“Guns,Guns,Guns”

The shootout at the cocaine factory was not originally intended to be so fast-paced. The automatic guns used in the scene kept malfunctioning during filming. Most camera shots did not provide more than three seconds of usable footage, because most guns were usually jammed by that time. This necessitated quick cuts during editing, which proved to be advantageous for the scene.

RoboCop's first Directive, "Serve the public trust", was inspired by a fortune cookie.

The convenience store robber was played by the movie's stunt men who gladly accepted to be one of RoboCop's victims and contributed the idea of being hit into the door of the glass cooler.

The film was submitted to the MPAA 12 times before securing an R rating.

The script for Robocop was rejected by just about every major movie studio since it was conceived in the early 1980s. Orion films took the chance and Robocop's success continued on with 2 follow up sequels to the movie, two cartoon series, a television show, several comic book series, and a made for TV series of 4 movie length episodes as well as a fan made parody film. It has also spawned over a billion dollars in children and adult toy lines and collector statues which are still being released to date.

“Your move creep”

In Sacramento, California, a robbery suspect fled into a darkened movie theatre to escape pursuing police. He became so engrossed in the movie playing on screen (RoboCop), that he failed to notice that police had evacuated all other patrons from the theatre. When the lights flipped on, the stunned man was taken into custody.

Thank you for your cooperation

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Short Film

導演 Director – Chung Dha Lam
監製 Producers – Alan Leung
執行製作人 Executive Producer – 林俊達
原創故事 Original Story “Paper Girl” – Chung Dha Lam
編劇 Screenwriter – 林俊達 / 問小金
攝影 Cinematographer – Chung Dha Lam
剪接 Editor – Chung Dha Lam
原創音樂 Original Music – Longman Luk

Cast
Kay Krince Mak 麥可怡
John Tai – Wing Yan
Jewelry Shopkeeper – Candice Hui
Friend 2 – Emma
Friend 3 – Yannie Chan

燈光 Gaffer – 林俊達
助理 Runner – 許俊希
化妝 Make up – Kamen Wong / Mim Midori Lai
服裝 Costume – 林俊達 / Alan Leung
道具 Props – Chung Dha Lam
首飾 Jewellery – Paper Diamond
劇照 Stills Photographer – Alan Leung 2
攝製公司 Filming Company – 八十年代有限公司 Ours 80s Ltd
出品 Presents – Chung Dha

嗚謝 Acknowledgement – Paper Diamond, Zaap Zok, D2 Place
特別嗚謝 Special Acknowledgement – Zhiyun Tech 本片故事純屬虛構 如有雷同純屬巧合

The story, all names, characters, and incidents portrayed in this production are fictitious © 2020 Chung Dha All rights reserved

Filmed with Z CAM E2 with Helios 44 55mm f2 & Sigma 18-35mm F1.8
Audio with Rode Wireless Go, Rode Smartlav+ and Tascam DR05

#廣東話 #cantonese #shortfilm

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ย้อนเวลา ไปดูสกู๊ป เบื้องหน้า และเบื้องหลังการถ่ายทำ และ Special Effects จาก ภาพยนตร์วันสิ้นโลก เรื่อง “2012 วันสิ้นโลก” (ปี 2009)
ซึ่ง ณ.เวลานั้น ภาพยนตร์เรื่องนี้ถือว่าเป็นอีกหนึ่งในภาพยนตร์ที่ทั่วโลกตื่นเต้น และรอชมกันมาก
ตอนที่ได้อ่านสกู๊ปนี้ ลุงหนูเองก็ตื่นเต้น และอยากดูมาก (อ่านก่อนรอบสื่อฯ)
สำหรับผู้ที่ได้เคยดูหนังเรื่องนี้แล้ว ดูคลิปนี้...คุณอาจจะนึกถึงช่วงเวลาดีๆในยุคนั้นครับ

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? I help to build a distinctive voice for your brand
? 30 years in #voiceover with the top companies in Thailand
? Co-Founder of @coffeepuppy https://coffeepuppy.com

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