السلام عليكم و رحمة الله و بركاته
لقد انقطعت عن المنابر فتره جاوزت ال6 اشهر و لقد سررت بالتطور الذي طرئ على المنتدى الذي يدل على اهتمام القائمين عليه
و سؤالي هو:
كيف يمكن عمل مؤثرات مشابهه للمؤثرات فيلم ماتريكس اعادة التحميل Matrix Reloaded?
و شكراً لكم
السلام عليكم ورحمة الله
و يا أخي مرحبا بعودتك ولكن نحن لم نر الفيلم بعد لنتحدث عن ا لخدع التي به
شئ غريب رغم ان الفيلم يعرض في السينما و قام القراصنه بتصويره من السينما و نسخه على اقراص CD و قد شاهدته بهذه الطريقه
إني أقوم الآن في الفوتوشوب و الثري دي ستوديو ماكس بتصاميم رائعة
وعندما أنتهي سأقوم بعرضها و شرحها
التحدى و الإثارة متعة الحياة
أنا شاهدت لقطات من الفيلم في برنامج السينما وشكلة حقيقة فيلم مميز والمؤثرات الى فيه مدهشة وصعبه شوي اعتقد للمايا دخل في الموضوع
ماكل مايتمنى المرء يدركه
السلام عليكم و رحمة الله و بركاته
انا صراحة شفت الفيلم و ما في احسن منه.
بالنسبة للسؤال... سؤال صعب للغاية.. اولا المصميمن محترفين... و الدعم المالي كبير بالنسبة لهم.... صراحة انا اعتقد انه من الصعب علينا محاكاة هذا الفيلم....
بالنسبة للتقليد فهذا ممكن.. بالنسبة للحركة البطيئة فان هذا ممكن و سهل القيام به في ماكس... و ذلك من خلال زيادة عدد الصور في الثانية (frams per second) ثم ادخال المشهد الى برامج تحرير الفيديو ( ادوبي بريمير مثلا ) و تقليل سرعة المشهد نسبة لعدد الصور المكونة للمشهد... فنحصل على مشهد بحركة البطيئة و ناعمة في نفس الوقت..
فلم The matrix relooaded لا تعني ماتريكس اعادة الاتحميل
و تعني عودة الماتريكس
الأخ طه اسمح لي أخالفك في الرأي فالمعني ضمنيا يحمل شيئا من معنى إعادة التحميل حيث أن بطل الفيلم في الجزء الأول انتصر على الماتريكس و جنودها و سحق الجندي الرئيسي للماتريكس في المشهد قبل الآخير من الفيلم أو فتته و لكن ستجده في هذا الجزء موجود و يقوم بعمليات تكرار لنفسه كثيرا و معنى عودته هو إعادة تحميله حيث أن موضوع الفيلم الأساسي أن القتال لا يقوم في أماكن واقعية و لكن في واقع افتراضي مما يوحي أنهم في لعبة و طبعا بعد انتهاء الجولانت في اللعبة تقوم اللعبة بتحميل نفسها من جديد و بهذا يكون في معنى الفيلم شيء ضمنى يعني إعادة التحميل و لكنها لا تنفى وجهى نظرك ولكن الأقرب للصحة ولموضوع الفيلم هذا رأيي الذي ربما كان صوابا و ربما كان خطأ
سامح انت تعرف الكثير...
هذا الكلم عن الحركه الموجوده في الفيلم وسمعت انه في تقنيه جديده تجعلك
تتحكم بالصوره المتحركه حيث ان العرض يمشي وانت تتحكم بموقع الكاميرا
حتى لو كان العرض مسجل .
Capturing the Action: Bullet-Time Photography Super slow motion would be relied on heavily in the stylization of the action scenes in "The Matrix," but certain moments in the script called for something special. These scenes required dynamic camera movement around slow-motion events that approached 12,000 frames per second. The Wachowskis called it "bullet-time photography."
This "Flow-Mo" process allows filmmakers almost unlimited flexibility in controlling the speed and movement of on-screen elements. For example, a fighter leaping into the air to kick his opponent could accelerate to the apex of his leap, appear to hover in the air, extend his leg in a lightening-fast movement, and then gently descend to the ground. Joel Silver describes the process as similar to "full-cel animation, only with people." The Wachowskis met with JOHN GAETA, the visual-effects director at Manex, a visual-effects facility in Northern California, to discuss their goals. Says Gaeta, "The Wachowskis are from the comic-book culture, and are therefore familiar with the Japanese animation style called anime, which we re-created with live actors for this movie. Anime takes advantage of 'the physics of decimation' ‚ it breaks down action into its components and allows those elements to be meticulously controlled to build the most dramatic effect from dynamic movement."
Gaeta's team and the filmmakers first blocked out the action that was going to be rendered and filmed the scene using conventional cameras. Then they scanned the images into a computer and, using a laser-guided tracking system, "mapped out" the movements of the camera that would capture the final scene. A series of sophisticated still cameras was placed along the mapped path, each of which would shoot a single still photo. Then the photos were scanned into the computer, which created a strip of still images, similar to animation cels. The computer generated "in-between" drawings of the images ‚ much as animators draw frames to move their characters smoothly from one pose to another ‚ and the completed series of images could be passed before the viewers' eyes as quickly or slowly as the filmmakers wanted without losing clarity. Obviously, this painstaking technique takes time and precision, but it renders moving objects and people in a completely new way. Says Joel Silver, "It¼s like the Japanese films "Ghost in the Shell" or "Akira" ‚ but ours is a real-life film depiction of anime, whereas those are animated films. We¼ve used every kind of visual effect utilized before and taken each one step further."
الجزء الأخير من الكلام رائع و يجلي بشيء من الوضوح بعض ما كان غامضا حيث أنهم يضمنون هذه الأعمال أعمال مرسوم أو فريمات بينية مرسومة يدويا
بصراحة شيء رائع جدا هذا العمل و يدل أنهم يفكرون بطريقة عملية جدا لا شيء مستحيل لا شيء اسمه الاعتماد على برنامج واحد أو تقينة واحدة في العمل الفكرة هي سيدة الموقف
شكرا لك أخي رادو على المعلومات المتميزة و يا ريت لو عندك موقع يتكلم في مثل هذه الأمور لا تحرمنا منه ألف شكر
دعونا نتكلم عن the mummy2
عوده المومياء الجزء الثاني
قرأت مقابلة مع رئيس فريق المؤثرات في هذه الأفلام
و يقول أنه يعيتمد في نصف العمل على Houdini و النصف الآخر على المايا
و يعمل معه من الفنانين حوالي 90 ومن غير الفنانين حوالي خمسين
طبعا يستعمل Houdini لانه الأفضل بالنسبة للمؤثرات الجوية و النار و البخار
و هذا جزء من المقابلة
CGC: How many people worked on X2 (please name also the different departments)
SR: I had approximately 90 artists on my crew. I had Digital Effects Supervisors, CG Supervisors, Illustrators, Technical Directors, Compositors, Animators, Modellers, Painters, Rotoscopers, and Match-Movers. In addition to the artists, I had roughly 50 more support people that consisted of Editors, Software Developers, Scanning and Film Recording, Systems Support, and of course my invaluable production staff
CGC: What Software/Hardware did you use?
SR: We ran most of our software off of Linux and Unix. We had about 6 terabytes of file servers and a dedicated renderfarm. We also ran jobs from artist’s local machines. The Art Department worked on Macs using primarily PhotoShop 7.
CGC: Why was Houdini your first choice for 3D?
SR: I would say about half of our work used Houdini and the other half Maya. A lot of the shots involved effects animation – fire, smoke, ice vapour, light beams, etc. – and we found that Houdini is a little better at doing these sorts of effects.
CGC: Any proprietary tools? What was so special about those tools?
SR: We made great use of our proprietary particle system generator. It allowed us to create millions of particles for Nighcrawler’s “Bamf” effect in reasonable render times. This gave us the high quality smoky detail required. Cerebro also made use of this program as well as another proprietary program that generated volumetric beams of light. We also used in-house water simulation code for the lake shot at the end of the movie.
A few films Stephen Rosenbaum worked on:
2003 X-Men 2 – Visual Effects Supervisor
2002 MATRIX 2: RELOADED – Visual Effects Consultant
2002 MATRIX 3: REVOLUTIONS – Visual Effects Consultant
2001 K-19: The Widowmaker – Visual Effects Consultant
2001 BIG TROUBLE - Visual Effects Supervisor
2000 PAY IT FORWARD - Visual Effects Supervisor
2000 THE PERFECT STORM - Visual Effects Supervisor
1999 SNOW FALLING ON CEDARS - Visual Effects Supervisor
1997 CONTACT - Visual Effects Supervisor
1997 THE POSTMAN - Visual Effects Supervisor
1996 MICHAEL - Visual Effects Supervisor
1995 STAR WARS: EPISODE IV SPECIAL EDITION - Senior Technical Director
1995 DREAMWORKS SKG (Logo) - Senior Computer Graphics Supervisor
1995 THE INDIAN IN THE CUPBOARD - Senior Computer Graphics Supervisor
1994 DISCLOSURE - Senior Technical Director
1994 FORREST GUMP - Computer Graphics Supervisor
1993 JURASSIC PARK - Senior Technical Director
1992 GENERAL CINEMA (Trailer) - Senior Technical Director
1992 DEATH BECOMES HER - Technical Director
1992 MEMOIRS OF AN INVISIBLE MAN - Technical Director
1991 TERMINATOR 2: JUDGMENT DAY - Technical Director
1990 THE HUNT FOR RED OCTOBER - Technical Director
1989 DIE HARD II - Technical Director
1989 BACK TO THE FUTURE, PART II - Technical Director
1989 THE ABYSS - Assistant Technical Director
و هذا الرابط لمن أراد أن يقرأ المقلبلة كاملة
وهذا رابط آخر
مع خالص التحية
أخر تعديل بواسطة abu_yahya في 11 / 06 / 2003 الساعة 09:22 AM
صحيح انهم استخدمو Houdini فهو يعتبر الافضل الان
يمكنكم العثور على دروس فيديو له من
شكرا أبو يحيى شكرا طه ولكن أخونا وجدي قال في موضوع سابق أن أكثر البرامج المستخدمة برامج شركة Avid و على رأسها Soft Image و لم يكن بينها أبدا هوديني تماما
أخر تعديل بواسطة IAMSAMEH في 12 / 06 / 2003 الساعة 05:42 AM
يا جماعه ركزو المقابله الاولى عن فلم x2
الي هو x-men 2
يمكن هي الي يتكلمو فيها من هوديني انا ما قريتها
اما الثانيه فهي عن ماتركس2
ويقول فيها انهم استخدمو مايا4.5
ولرندر mental ray
وبرامج اخرى مساعده
3DA - What software was used during production to generate the characters and the 3D visual effects?
Enrique - In 3D we used Maya 4.0, 4.5 and some AW's special versions for ESC. The renders were accomplished using Mental Ray. The particle dynamics were also done in Maya, but the render of the particles themselves were done using propietary software. For the digital composition we used Shake. Aside from that, we have used a lot of third party or in-house plugins, for Maya and Shake.
بلنسبه لفلم x2
اروع مافي الفلم حركه nightcrawler
من اراد ان يشاهدها ينزل اول 10 دقايق من الفلم من كازا او غيرولانها صراحه تستاهل مع ان فكرتها يتبو سهله
ان المستخدم كان مايا
انا قراءت ما كتبه الاخ abu_yahya و هو واضع تقرير X2
خطأ بسيط و هذا هو الموقع الذي يتحدث عن الماتركس
وضعه الاخ abu_yahya
MATRIX: What does your role as the visual effects supervisor for THE MATRIX encompass?
JOHN: Both designing and planning shots that cannot be achieved in camera: shots that are a physical impossibility, or the subject matter is not possible to replicate in a physical way. Often it entails mixing photographic elements together. For example, actors who are supposed to be in proximity to an event that is either too dangerous, or too out of the norm. So there is a lot of green screen compositing and multipass as well as the coordination of the multi passes. If you are going to take a group of photographic elements into a digital environment, you want to get some nuances that you can manipulate. For example, common extra passes, besides green screen, would be background plates with no action occurring, background plates with pyrotechnics or other kinds of special effects occurring, and especially interactive light passes that relate to the computer graphics that are yet to come, but are not represented on set. Light, at the end of the day, turns out to be the glue that holds all things together. You just shoot as many passes as you need, to come up with the elements that you need to manipulate later.
MATRIX: How about describing a scene in The Matrix where light is used as glue.
JOHN: There is a creature called the Doc-Bot. It will be like a medical robot with big fish eye optics that represent its vision and will have lights hanging off of it. It is very intimidating as a creature, and when it is focused on Neo it means to interpret immediately as to why he has awoken. In that case, when we shoot that on stage, we want to represent light emanating from the location of the creature that is not going to be there, blasting it to Neo. The light would be moving since the creature is moving in the scene. Every single shot is an array of details that have to be planned. The more interaction there is by way of physical moving around of things and light, makes it more real, obviously. We have special passes that are for understanding the relationship of the camera to the subject, the camera to the set; they are like spatial aids.
MATRIX: Which is all done with the actors in mind.
JOHN: Yes. This is all technical preparation for the interaction. We have to know how big Neo is, where he is, where the set is, about the collision you need to plan out all your computer graphics with collision to the real sets in mind. You need to know where everything is, which is a big part of the preparatory work.
MATRIX: There must be a difference between total CG shots and those that include the actors.
JOHN: Right, when the event that you are shooting is very organic - when it is a stunt - you don't know exactly how it is going to turn out, although you have a basic idea. You can go in with a certain amount of exactness, but if it is any kind of performance based thing, and/or pyrotechnics, in a live set with actors, anything goes. There are other kinds of shots that are more controllable, like the helicopter crash. The location of the cameras was based on the background plates of real city buildings that breaking glass needed to be inserted into. So you start with those plates and calculate which camera is first. Then you put your miniature cameras in exact locations and figure out and visualize the speed at which events are going to take place: the trajectory and which panes of glass the blade is going to break. We also work out the timing of the pyrotechnics, such as how fast the glass curtain opens.
MATRIX: Describe what went into the helicopter crash.
JOHN: In this case there is compositing and a little CG. For instance, a panel of glass actually simulates a portion of the skyscraper, all we are interested in is destroying the glass around the impact of the helicopter. Everything in this movie has some sort of surreal quality, even events like that. So when the helicopter first hits the building, it buckles as if it is a pebble in a pond and everything distorts. There are sound cues so that you know the building is being stressed, then all of a sudden the glass shreds outwards in a radial way from where the crash occurred. The whole composition of the event has been graphically figured out ahead of time, for this radial glass wave with pyro center and Trinity in front. The stunts would be one thing and the background plate would be another.
MATRIX: The concepts are maintained visually throughout each shot.
JOHN: There are some effects in this film that are not ground breaking, but are cool in that the brothers are using them as design threads through the picture. The physical properties of everything inside THE MATRIX are interesting, because nothing is what it appears to be, no solid object is solid. There are a lot of distortions of what you think you are seeing, in the way of reflections and mirrors and things that are bending, which make you know that you are in some sort of bad trip, or nightmarish situation. There are a lot of subtle effects they are using that might go by people and throw them off, making them unsure of what they saw, which is a cool way to use these techniques.
MATRIX: The first time they see it, anyway. The second time they see it more things will seem more obvious.
JOHN: Yeah, you need a second take. I think this would be a good movie to rent on video because you will be able to catch a lot of details.
MATRIX: There were a bunch of creatures designed for the film.
JOHN: Right, there is one 30 second shot in the film, which is an exposition of how a human comes into the world, that is going to be 100% computer generated and the complexity of the design is mind blowing. In that one shot there are four or five creatures that are as complex as any of H.R.Giger designs. There is a human fetus in there for which the objective was to make it look as real as possible for impact. A sizeable challenge for anybody anywhere.
MATRIX: A lot of what I am seeing is right on the edge, the kind of things that have only become possible recently. Some even seem to make a big leap forward.
JOHN: We wouldn't be doing this if it wasn't right on the brink of possibility. The fact that so much is computer generated with a lot of camera work, we decided we were just barely close enough to try it, so we went for it. You can do far more interesting things cinemagraphically once it is a CG object. For instance, we have pulled out of the pupil of the eye and made an insane spin around it. A lot of the designs are very good, particularly the Geof Darrow based designs, this has meant that many very talented animators joined the project because it was a challenge for them. That then increases the production value because you have attracted artists for bigger reasons than just another film to do. This creates a separate energy which shows in the film itself. The history program scene is a little controversial, it will surprise people. It is difficult to know if liberals or conservatives would be more angered by it, which means that it probably works.
MATRIX: What is your take on the scene?
JOHN: It is man and technology gone haywire, giving birth to more technology that pushes it past the point man supposedly would never, morally and ethically, go beyond - but in actuality we think man would go this far. The fact that we have put these ideas on the screen means that someone would think about it in the first place. I think it is the right kind of subject matter to consider. I don't envisage a time when there will be hideous monsters plucking us from trees, but cloning is open to debate.
MATRIX: How far can technology take us visually?
JOHN: No one really knows what the threshold is that people can reach. Some of the techniques that we are using are part of a collective consciousness of techniques that are being used around the world. There are bright people who are working with digital equipment, who have a certain blend of backgrounds for computer graphics and photography, and can figure out connections between the two. Then the thoughts start to happen about how you merge these things together ? true photography and true 3 dimensionality.
MATRIX: Its really amazing how fast computers are changing film.
JOHN: This is a new frontier. The boundaries in the last few years were about creatures like dinosaurs, which have been done very well. Once that could be done, creating more imaginative creatures and synthetic humans is something people are attempting, but have not yet gotten to, so there are still boundaries to be pushed. The whole other side of visual effects that is still a frontier is this: virtual reality style cinematography.
MATRIX: Which is perfect, that it's this film pushing the envelope on computer animation. There's a wonderful irony there.
JOHN: It is perfect. That is why we went totally for it. The technique is about what the film is about. The backgrounds behind all the bullet time shots are not shot with motion picture cameras, they are complete fabrications of still images mixed with 3D geometry projecting back on those. It looks incredibly good, like you are in the set, because it is the set that was used to make it. To me, this is what the future is going to be.
MATRIX: So you are on the edge.
JOHN: With this technique, as I said, there are a number of people experimenting, so when an idea like this reaches its time, a number of people reach it collectively. People are experimenting more and more, so 3 or 4 years from now will be when film resolution digital cameras can get images at hundreds of frames per second. There will be 3D film making and cameras.
MATRIX: One of the things I find intensely cool about The Matrix is its insanely tight style, down to every detail.
JOHN: The directors are really great at the glue between scenes, the transitions - you never know what state of reality you are in. They layer it to the point that I can imagine the audience will be completely baffled about what is real and unreal - which is, after all, the whole point.
MATRIX: Thanks John.
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