Zemeckis has always been ahead of the times, or we have been too vulgar to keep up with his old man. Live-action animation mixing, time travel, and documentary clipping are often not mentioned for a while, but the "motion capture" technology that has been tinkering with three consecutive films has been neglected recently, and he can't help but be surprised by his old man's courage and courage.
[A Christmas Carol] is unanimously regarded as the best of the three "motion capture" movies, is it a refreshing technical adaptation of the famous book, or is the "motion capture" technology meeting the right theme? The latter, in fact, [Beowulf] is the subject of the counterpart "motion capture" technology: real-life texture, huge fantasy space, and fantasy scenes that cannot be ignored. But [Beowulf] failed more thoroughly.
An axiom: the use of special effects should be based on how it assists the film itself, in other words, special effects are just auxiliary tools. The problem is that in the face of "motion capture", especially [A Christmas Carol], you don't have to simply use the above axioms to test it. Otherwise, the result will be "It's not good to shoot animation, but you need to capture it" or "What kind of technology is it to make a myth fool? It's true or not."
It's true that "motion capture" is still an auxiliary tool, but it is an auxiliary tool for the entire special effect scene. In other words, the real-life blur effect produced by "motion capture" is the basis of the entire special effect. Without this effect, we would still Gotta go back to [Roger Rabbit]. To put it bluntly, the beauty of "motion capture" technology is that it helps the film achieve a balance between display and illusion, so that various large paragraphs of fantasy special effects scenes will not be separated from the overall texture of the film.
"A Christmas Carol" is such a novel, but in reality there are surreal scenes that can't be shown in large-scale ordinary movies. The motion capture throughout the movie is actually to pave the way for the scenes of the three great gods in the middle, so that the scenes of this large paragraph can maintain the same tone as the movie. The problem with the film has actually become the heart disease of this "restored illusory" film and television work: Does the illusory scene in the text work really take the corresponding time to express? The specific expression of this kind of problem: [A Christmas Carol] is 98 minutes long, but the three gods take up too much time, so that the movie gradually enters the sleep time-of course, you can also ask Mr. Tsui Hark [Shushan Biography] The sleepiness index is Why so high. So the final effect became "Well, this special effect is really well restored. It's not just showing off, but why is it so sleepy?
" Committed to finding a balance between the reality and fantasy of the film, all kinds of real and fake stitching in [Forrest Gump] are just a piece of cake, [Roger]'s live-action animation synthesis and even "motion capture" are Zemeckis's real goal. Who asked: What can this technology actually do? To be honest, I'm not sure, but with the change of Zemeckis' film theme, we can see that this technique has shown great vitality in various fantasy mythological masterpieces. I can't help but think of the future of the adaptation of "Liao Zhai", "Feng Shen Bang" and even "Journey to the West", and the appearance of various Greek and Roman myths is estimated to be just around the corner.
The question now is still the above one. Several movies have proved that the fantasy scenes of large paragraphs will make the audience feel visually fatigued-the formal balance between the real and the virtual has been found. How to do a concrete combination of the real and the virtual?
Furthermore, we all know that special effects, including "motion capture" technology, are called "reduction of imagination". The problem is that everyone's imagination is different, but only a small group of people operate "reduction of imagination". Is it good or bad? Will the future development really become "stifling the audience's imagination space"?
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