Pokud se chcete dozvedet něco převratného o možnosti nových technologiich v motion capturingu a re-lightingu, dobře si prohlédněte všechny odkazy zde na stránkých University Of Southern California v laboratoři Institutu pro Kreativní Technologie. Jedná se o výzkumný projekt nové fáze snímání předmětů, herců, pohybu a hlavně změn osvětlení na těchto objektech.
O technologii snímaní Benjamina Buttona si můžete pustit toto video z TED:
(Je to JINÁ technologie než byla použita u Avataru!!!)
Vrátil jsem se z kina naprosto omámen, já si opravdu připadal, že na planetě Pandora jsem. I já filmař jsem se nechal naprosto vtáhnout do děje. Práce s 3D prostorem je více méně unikátní. Nepracuje tolik s hloubkou prostoru kina, ale naopak se zadním plánem. A naštěstí, naštěstí se vyhýbá laciným 3D trikům, vše má svůj význam. Tak zaprvé, Avatar 2 BUDE. James Cameron o něm mluví již v tento moment, i když se zřejmě dřív dočkáme jeho dalšího filmu “Battle Angel” taktéž ve 3D, Pokračování se ale díky jistým vysokým tržbám dočkáme. Zajímavým faktem je, že Hollywoodským producentům se opravdu prozatím podařilo vrátit lidi do kina a zamezit pirátství. Proč? Tenhle film prostě MUSÍTE vidět ve 3D a technologie 3D televize a domácího kina je prozatím v plenkách, stejně jako systém distribuce do domácností (BluRay 3D). Takže každý další 3D film bude mít návštěvnost, protože tohle nikde jinde nezažijete.
Continue reading ‘James Cameron’s Avatar – Technologie’
I was trying, but I’ m not yet so good at writing in-depth articles in English. So for a really detailed insight in our trip with Dale McCready, NZCS to Lodz please visit the New Zealand Cinematographers Society and Dale’s article.
Dale described perfectly all the important details. Thank you Dale for such a good report.
So I went to see the Czech film “Protektor” in the cinema and I’ m just astonished! Such an amazing film! ”Protektor” and ”Three Seasons in Hell” are the best two movies produced this year and possibly in the following 5 years. Continue reading ‘Proud to be a Czech Filmmaker’
So I returned from Camerimage full of new knowledge. From the full program as always I was able to attend just a fragment. First thing we went to with my New Zealand/London DP friend Dale McCready was Dante Spinotti’s Lighting Workshop which was held in this little space in Opus Film Studios. For sure not suitable for 200+ students crowding everywhere, standing outside, head on head. And the organization was little off, looking for assistants and equipment. Well so we left for some movie experience in Grand Theatre. We watch 1/10 of a Polish movie I AM YOURS (Jestem twój) which was really horrible, so we left even I hate to do it. On begining of the film the “crew” announced that they were trying to make the cinematography blend with story to be invisible. Nothing more could be more obvious. That didn’t work at all as the story sucks, direction was terrible as well the acting. At least the part I saw. Nevertheless I asked well known DP who was in the jury and I knew him personally, if it was any better in the rest 2/3 and he said: “No”. Another film we saw was “Reverse”, story and directing was great, but the print was so new, that looked like digital. Even I still think they shot it on digital. If you click on the name of the film up you will see excerpt from it. But it didn’t look like this contrast picture, opposite was true. Particularly I didn’t like the lighting which was not enough contrasty for b&w film and framing was not so great as well. But it’s a Polish film so no surprise it won a Bronze Frog for cinematography, it already received awards from Polish Film Festival in Gdyna. But it didn’t ring the bell so strongly. Pitty and real unfair is that Czech films like “Normal” or “Guard No.47″ were not accepted to competetion! And “Protector” or “Three Seasons in Hell” all for films could easily win the competetion!….
Continue reading ‘Camerimage 09 Review’