TTCN – Not really live but not really animated, the movie The Polar Express was released on November 10, 2004 and has been considered by most film critics as a remarkable milestone. in the history of cinema, the revolution of all the digital revolution in Hollywood.
TTCN – Not really live but not really animated, the movie The Polar Express was released on November 10, 2004 and has been considered by most film critics as a remarkable milestone. in the history of cinema, the revolution of all the digital revolution in Hollywood.
Based on a 32-page children’s story book by writer Chris Van Allsburg published in 1984, The Polar express is about a nameless boy living in a 1950s American city, with a childish belief that Santa Claus is real. One day, on a snowy Christmas Eve, a train suddenly stopped in front of his house and the ticket seller invited the boy to accompany him on a trip to the North Pole with many unexpected discoveries…
The point that makes The Polar express noticeable is not the script (simple and familiar to Americans because Chris Van Allsburg’s story is considered a classic of the children’s genre, awarded the Caldecott Medal in 1985) but in special effects elements. The characters and scenes in The Polar express ($165 million to produce) at first glance seem like three-dimensional animations (like Finding Nemo or Shrek) but they aren’t. The Polar express is a combination of real-life acting with computer effects.
Director Robert Zemeckis used 500 special effects specialists from Sony Imageworks to create The Polar express over three years. One of the real supporting actors in the film is Tom Hanks (playing five roles, from the 7-year-old boy-the main character to Santa Claus). The main technique in The Polar express is performance capture (roughly understood as impersonating real people to convert into acting cartoon characters).
Every second in The Polar express is shot in a tiny 3m x 3m space (10 feet to be exact) at Sony Studios, including 72 Vicon pink-rayed motion-analysis cameras. foreign. When the infrared rays collide with the plastic beads on the actor’s body, the light will bounce back into the lens and at the same time the computer will record the location of the plastic beads (the camera rotates at 120 frames per second).
With 194 plastic beads on each actor (the face has 152 beads alone), the computer connects the points and creates an extremely meticulous “shell” of the acting from which one can draw. cartoon character again. As a result, no matter how Tom Hanks acted, the cartoon character acted exactly the same – based on data collected from Tom Hanks’ facial and skin surface movements. With this new technique, Tom Hanks was able to play five roles at once.
And with the most modern performance capture techniques, one can really create a real Sean Connery or a Meryl Streep!
Supporting Zemeckis in The Polar express are cinematic effects masters Ken Ralston (5 Oscars) and Jerome Chen (2000 Oscar nominations). It’s no wonder that American film commentators, from Newsweek’s Devin Gordon to the New York Times’ Dave Kehr, have acknowledged The Polar express as revolutionizing every digital revolution in Hollywood.
In fact, Hollywood for the past few decades would not have been able to live without an important part of digital. From Jurassic park, Terminator 2, Final fantasy, Matrix to Gollum (the most complex virtual character, by far) in The Lord of the rings trilogy, all with digital intervention. 9/10 best-selling productions of 2004 – as of October 25, 2004 (in order: Shrek 2, Spider man 2, The passion of the Christ, Harry Potter 3, The day after tomorrow…) – all use almost maximum skill. But also need to open parenthesis: success still depends mainly on the script, the director as well as the acting; and effects can’t save a movie with bad content.
Fifteen years ago, an “expensive” movie cost only $50 million, of which 10% was for special effects; Now, a movie with an average cost of 150 million USD with 50 million USD in effects has become the norm (comments Jim Morris, president of the famous effects studio Industrial Light Magic). Thereby, it can be seen that Hollywood will continue to dominate the world film market and make money thanks to the effects and certainly more unique innovations than performance capture in the future.
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