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Old 02-22-2014, 02:36 PM   #61
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I found an interesting short featurette behind the scenes on the BBC. In the interview, I found it amusing that the director, Alfonso Cuaron, wanted to have nearly everything as practical effects and didn't believe in using CG at all. Another interesting fact is that the space station or ISS scene, took a year with 10 models to make and to render a frame of that scene, it took 50 hours. I could only imagine the pain and cringed at the thought of when they explained that the director had his eureka moment near the end of production, he wanted the entire camera angle to be changed for the entire sequence.
http://www.bbc.co.uk/news/technology-26295937
 
Old 02-22-2014, 06:50 PM   #62
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Originally Posted by Artbot
Poor screenwriting?

Seriously, it would not have been so bad if they didn't have multiple other shots where someone bounced back at the end of a line reeling out. If they simply had the line spinning from a central point so the centrifugal force was pulling on them out at the end, it would have made sense.


They would also never allow him to flit around with the pack that fast and that half-assed either.

Some other musings on the problems of the movie along with the physics and characters, from a favorite muser of mine. (NSFW Language)



It is frustrating in a movie with otherwise such amazing film-making (immersive cinematography, timing, etc.) it has so many issues it didn't need to have, especially from such an otherwise genius filmmaker. Oh well.
 
Old 02-24-2014, 06:52 PM   #63
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Originally Posted by hypercube
They would also never allow him to flit around with the pack that fast and that half-assed either.


Yeah, I mentioned that. I realize they had to bend reality a little since in truth he would have been moving at 1 inch per 5 seconds or some such comatose speed, but they really over-did it.

That Louis CK bit is hilarious. If you read Chris Hadfield's book, it's really all about not losing your shit is difficult situations.
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Old 02-24-2014, 08:16 PM   #64
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Kinda reminds me of the stink someone made over the wrong stars in the scenes of Titanic sinking.

I sleep better knowing that Cameron went back and fixed that. Makes the movie so much more accurate and believable.
 
Old 02-24-2014, 08:39 PM   #65
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Originally Posted by redbellpeppers
Kinda reminds me of the stink someone made over the wrong stars in the scenes of Titanic sinking.

I sleep better knowing that Cameron went back and fixed that. Makes the movie so much more accurate and believable.


Actually this is not the same thing at all. The Titanic stars were a joke made by Neil Degrasse-Tyson during a lecture, and Cameron simply played to the joke when he had the chance to re-do it. It was just a bit of fun and had no effect on the story. Gravity, however, played very loose with its physics, which is not uncommon in movies, but the huge problem that I and others have was the inconsistency of the rules. Movies break rules all the time, but the key to making the story coherent and/or more believable is to at least be consistent with the rules you are breaking. In one shot a person springs back at the end of a taut line, the next he's like a thousand pound weight hanging over the side of a boat about to pull them both under. Just stupid.
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Old 03-01-2014, 03:48 PM   #66
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This should put in perceptive how VFX people come from all over the world:
http://blog.juanluis.com/2012/02/19...over-world.html
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Old 03-03-2014, 03:01 PM   #67
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I'm glad it won some awards.
While best musical score surprised me, since it was competing with John Williams, can't figure out how a movie that states in the beginning that there is no sound in space wins best sound and best sound editing (let alone nominated).
 
Old 03-03-2014, 03:02 PM   #68
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Quote:
Originally Posted by Artbot
Actually this is not the same thing at all. The Titanic stars were a joke made by Neil Degrasse-Tyson during a lecture, and Cameron simply played to the joke when he had the chance to re-do it. It was just a bit of fun and had no effect on the story. Gravity, however, played very loose with its physics, which is not uncommon in movies, but the huge problem that I and others have was the inconsistency of the rules. Movies break rules all the time, but the key to making the story coherent and/or more believable is to at least be consistent with the rules you are breaking. In one shot a person springs back at the end of a taut line, the next he's like a thousand pound weight hanging over the side of a boat about to pull them both under. Just stupid.


It was just the one shot.
Annoying, yes. I agree.
But until they can film the same movie in space, forgivable in context to the rest of the movie.
 
Old 03-03-2014, 03:26 PM   #69
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Quote:
Originally Posted by redbellpeppers
can't figure out how a movie that states in the beginning that there is no sound in space wins best sound and best sound editing (let alone nominated).


I thought they were very clever with sound design - the way resonances were propagated through the bodies of the spacecraft and spacesuits, and how the loss/gain of atmosphere had an effect on the sounds, and so on...
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Old 03-03-2014, 06:09 PM   #70
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While I'm glad for the awards Gravity won (I really loved it), although best music was weird... I was irritated much like last year how everyone was thanked except the VFX artists. This movie even more than Life of Pi WAS the VFX artists. I guess they got their moment for the VFX award, but still would be nice to hear "Sandra Bullock AND all the visual effects artists who made this movie possible." On the other hand I can see how it might be like thanking your lighting gaffers and prop department every time you won an award, but whatever.
I don't know how it's done in Hollywood since most of my experience in on commercials, but what exactly does the cinematographer do in a movie like Gravity or Life of Pi, when so much is visual effects? Is he sitting there coming up with shots, working with the artists to get the right lenses and composition?
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Old 03-03-2014, 06:15 PM   #71
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Quote:
Originally Posted by japetus
I don't know how it's done in Hollywood since most of my experience in on commercials, but what exactly does the cinematographer do in a movie like Gravity or Life of Pi, when so much is visual effects? Is he sitting there coming up with shots, working with the artists to get the right lenses and composition?


In this case unlike Pi, he was actually deeply involved in the virtual cinematography, lighting, etc. he couldn't light the shots himself but directed them to just like he would a traditional crew, and did shot planning and everything together with them, so I'd say it's well-deserved in this case. I think this will become more of a trend because otherwise a lot of us are coming up with the shots and it's definitely an issue.

But yeah, not enough shout outs, especially Cuaron, he could have thrown in a little something inbetween the phone book full of people he thanked (did mention the VFX sup, but come on).

I also definitely agree it deserved it for sound design, very subtle and immersive work making use of the lack of sound and methods of "hearing" via contact etc.
 
Old 03-03-2014, 06:58 PM   #72
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Quote:
Originally Posted by hypercube
In this case unlike Pi, he was actually deeply involved in the virtual cinematography, lighting, etc. he couldn't light the shots himself but directed them to just like he would a traditional crew, and did shot planning and everything together with them, so I'd say it's well-deserved in this case. I think this will become more of a trend because otherwise a lot of us are coming up with the shots and it's definitely an issue.
I also definitely agree it deserved it for sound design, very subtle and immersive work making use of the lack of sound and methods of "hearing" via contact etc.


Yeah the sound work was great, immersive, and unique, really loved that aspect of the film too. Very cool about how involved he was, kudos then! Very well deserved. I'm thankful he was very involved because yeah, I could see how it can be an issue when "vfx artists", or probably the vfx sup are coming up with the shots, however common that is I dont know. Great to have a real trained cinematographer work on the cameras. Reminds me a bit of how in Rango, they brought in Roger Deakins to help with the lighting. I thought it was that much more striking as opposed to the lighting in most animated films. I for one can't wait to see what Cuaron does next
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Old 03-03-2014, 07:01 PM   #73
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Quote:
Originally Posted by redbellpeppers
I'm glad it won some awards.
While best musical score surprised me, since it was competing with John Williams, can't figure out how a movie that states in the beginning that there is no sound in space wins best sound and best sound editing (let alone nominated).


Really? I thought the sound design was the best thing in the film.
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Old 03-03-2014, 08:18 PM   #74
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The scenes that stand out to me are when outside, everything starts to shatter and break-in silence. I though that was clever... but involved lack of sound.\

Guess I'm gonna have to re-watch it.
 
Old 03-03-2014, 08:21 PM   #75
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Quote:
Originally Posted by redbellpeppers
The scenes that stand out to me are when outside, everything starts to shatter and break-in silence. I though that was clever... but involved lack of sound.\

Guess I'm gonna have to re-watch it.


Uh... I think you're forgetting the great many scenes where there WAS sound and it was done in a very clever way with how it might sound traveling through your body or instead of through soundwaves to your ear...or did you just watch the trailer?
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