Jeg sitter å bare venter til den skal bli lekket :3
Viser resultater 41 til 60 av 722
07-02-2009, 13:56 #41
07-02-2009, 17:32 #42Opprinnelig postet av RuneW
Når det gjelder filmen, så er det bra det begynner å bli mange 3D kinoer rundt om kring.
Jeg skal se den i Real D (Colosseum sal 1 ) , Dolby 3D (resten av kinoene) og i vanlig D , så minst tre ganger.
07-02-2009, 18:33 #43Opprinnelig postet av erikaur
07-02-2009, 19:06 #44
Real D 3D og Dolby 3D er to forskjellige måter å vise 3D på, men forskjellene er forhåpentligvis så små at kvaliteten blir like bra i realD og Dolby 3D kinoer. Vanlig D er 2D
3D kommer for fullt igjen! (#34 )
RealD Cinema - Wikipedia, the free encyclopedia
RealD - The Global Leader in 3D
Dolby stakes its claim in 3D movie tech - CNET News
Dolby - Dolby 3D Digital Cinema
07-02-2009, 21:22 #45Opprinnelig postet av erikaur
07-02-2009, 21:30 #46
Og se her; det er en tredje teknologi i Oslo..
RELEASE.no – 1997-2009 - videobransjens fagblad
"Det er fire forskjellige 3D-kinoteknologier og Oslo kino bruker tre av disse: «XpanD 3D» i Colosseum 2, «RealD» i Colosseum 1 (også Cinemateket, Filmens hus i Oslo) og «Dolby 3D» på Ringen kino."
Da må jeg jo se Avatar i XpanD 3D også 8) (Colosseum sal 2)
07-02-2009, 22:55 #47
07-02-2009, 23:15 #48
Jeg har lest i den tråden før, men det en del uker siden sist så har ikke sett de siste postene. Lese, lese, i morgen.
Kan ikke se bilde du linker til, men finner det vel kanskje i tråden i morgen.
Må jo lese om XpanD og nå da, ikke vært interessant før naturligvis.
07-02-2009, 23:20 #49
Jo kan se det, må være inlogget. Interessant, takker.
Men spørs om de tallene det stemmer i dag da
07-02-2009, 23:23 #50Opprinnelig postet av erikaur
Jeg testet akkurat dette ved å kopiere linken til en annen fane i FireFox og det virket fint, men den husker kanskje innloggingen "mellom fanene". Surr fra min side. Det hadde vel vært ufint å kopiere bildet og legge det ut her, så da får det heller være "usynlig"...
07-03-2009, 11:39 #51
Kan denne dingsen redde kinoen? - Dinside - Dagbladet.no
Det er samme om det er Dolby D , real D , XpanD eller annen D , så lenge det er bra8) Tror state-of-the-art filmen Avatar blir bra uansett, det blir opp til den filmen å vise hvor bra 3-D kan være. På alle D`ene.
Men Avatar er jo uansett bare en film8) Og 3-D er ikke det viktigste med Avatar. Men spennende å se om den bidrar til at det blir tidenes kinoopplevelse, noe jeg tror8)
Denne filmen kan kanskje gi en liten forsmak på state-of-the-art 3-D`en i Avatar:
-Final Destination: Death Trip 3D (Aug 21st, 2009) Senere i Norge, etter Avatar (David R. Ellis, Director) Vince Pace and his team did the 3D work on this film (using the same Pace Fusion 3D camera system used on Avatar), so you will be getting the state of the art. 2-D in selected theaters.
the Pace Fusion system was co-invented by Vince Pace and director James Cameron.
"My Bloody Valentine" som går på kino denne helgen er ikke filmet med pace fusion systemet.
07-03-2009, 12:10 #52
07-03-2009, 12:37 #53Opprinnelig postet av erikaur
Men jeg håper det er en del med behagelig å se på enn det som blir vist i mange fornøyelsesparker (har sett diverse fra Captain EO i Disney World (med han-dere-vet) på slutten av 80-tallet til 4D-kino på Hunderfossen). Felles for alle er at jeg blir sliten i hodet av å se på det - og dette er 10 minutter lange kortfilmer!
Mulig "blingse"-kameraene og høyere framerate gjør susen. Gleder meg gjør jeg uansett!
07-03-2009, 13:38 #54Opprinnelig postet av RuneW
Interessante disse to intervjuene med Cameron, hvis du ikke har lest dem...
James Cameron supercharges 3-D Variety
James Cameron on the Cutting Edge
mest teknisk de to intervjuene, men denne bloggen og videoen gir en grei oppsumering av den nye 3D teknologien vs. den gamle, til de som ikke har lest/sett dem...
The New, Headache-Free 3D Universe 8)
+ dennne self; James Cameron Stereoscopic 3D camera (Video)
Avatar er drømmeprosjektet til Cameron.
Jeg har sett dokumentarene til Cameron, 3D (Imax ) og 2D.
In Cameron i trust.
07-03-2009, 13:53 #55
Det står det i den siste linken din:
"That’s why I was so vehemently against Dreamworks Animation’s use of anaglyph glasses for their 3D Superbowl ad – sure there is some awareness generated, but awareness of what? Headaches? People will just get confused and think that they have to bring those very same glasses to the theater.
No. What we are now talking about is “passive polarized” 3D glasses in most cases. Beverly Hills based RealD espouses this technology and I mention them by name as they are essentially the theatrical projection standard for modern 3D with 90-95% of all installations. The technology is not color coded and will not place any undue processing requirements on your brain for a 3D experience. Therefore, no headaches like your father had. To the contrary – the experience is thrilling when done correctly (yes, there can be badly made 3D movies, just like any other 2D movie) and immersive."
For meg ser det fortsatt ut til at "den store forskjellen" er at man har gått bort fra fargekodet (anaglyph) 3D til "polarisert" teknologi, selv om dette overhodet ikke er noe nytt.
Men, som du sier:
Opprinnelig postet av erikaur
07-03-2009, 14:25 #56
Den største nyheten med 3D er den nye kamera teknologien , måten kamera fungerer på, som øynene våre, se videoen over , virker imponerende, blir vel først tydelig hvor bra det er når Avatar har premiere.
Avatar er den første (fullblods state of the art high tec) 3D filmen! 8) Filmet med den beste teknologien og med folk som har peiling/erfaring, spesielt Cameron og Pace.
det blir før, og etter den filmen. Tror jeg.
Opprinnelig postet av RuneW
En kombinasjon av ny kamera og projektor teknologi og nye muligheter ved filming/produksjon av 3D film.
edit: måtte editere litt, blir fort surr med all sen teknologien i denne filmen, og denne varmen. Nå kommer regnet snart, takk og pris.
07-03-2009, 20:34 #57
Jepp. Jeg har gjort det eneste som er 100% sikkert for å mane fram regn: dratt på telttur:-) Jeg hører det tordner allerede...
07-04-2009, 08:19 #58
07-04-2009, 10:32 #59
For spesielt interesserte...
Five Innovations in James Cameron’s Avatar | /Film
Performance Capture Workflow: A lot of the film was captured using a performance capture technique similar to that of which Robert Zemeckis filmed Beowulf. So Cameron developed a virtual camera which will allow his to point it at his actors and see them as their computer generated characters in real time.
Simulcam: A camera set-up which allows them to follow or monitor a virtual character which was captured in performance capture into a live action environment in real-time. It also allows them to see what a virtual backgrounds will look like in a live-action shot. I know that Steven Spielberg had a set-up like this on A.I., but I think it only showed him wireframes of buildings, and was very glitchy. My impression from Cameron’s quotes is that the new technology renders something a lot more visual, probably akin to a video game (likely more last generation).
Facial Capture Head Rig: The actors in performance capture suits also wear a camera rig on their heads that takes digital shots of the actor’s face. This allows the computer generated character to have 100% facial movement, even in the real time performance capture workflow mentioned above.
Facial Performance Replacement: In traditional filmmaking they use ADR (or additional Dialogue Replacement) when filmmakers need a cleaner take of the actor’s dialogue, or need to fudge in a new line. But with a traditional film, you really need to trick a shot to make it work. The lips don’t always match up, and sometimes, if you’providing an entirely new line of dialogue, filmmakers usually resort to a wide shot or a behind the head shot, so that you can’t see the lips of the actor on screen. Since 60% of Avatar is performance capture, he has designed a way to insert a new facial scan/dialogue capture on an existing performance.
Fusion 3-D Camera System: The Fusion 3-D camera system was co-developed by James Cameron and and Vince Pace. The rig uses two Sony HDCF950 HD cameras to create stereoscopic 3-D. Cameron first used the system on his 2003 IMAX film Ghosts of the Abyss. It has since been used by Robert Rodriguez on Spy Kids 3-D and The Adventures of Sharkboy and Lavagirl, and most recently on Hannah Montana and Miley Cyrus: Best of Both Worlds Concert and Journey to the Center of the Earth. But I’m not exactly sure what improvements Cameron made to the rig over the last five years.
Vedlegg 51601 Vedlegg 51602
We've eliminated the animation from animation." With AVATAR's groundbreaking set-up, Cameron could observe the actors (left monitor) in a rough version of the final CG environment (right monitor).
Aside from an intricate, and very alien, ecosystem with predators large and small, Cameron's idea revolved around a race of indigenous sentient aliens called the Na'vi. Nine feet tall, blue skinned and feline in appearance, they would need to be entirely computer-animated yet interact seamlessly with the live action.
"With the capture technologies we developed, the actor can be any character they can imagine and the director can create any world, any time and any space."
And here is a great quote from Cameron on Spielberg and Jackson: "I invited them over while shooting AVATAR. I put the camera in their hands and they basically became two kids - on the inside every filmmaker is really just a complete geek. The amazing thing for me was just watching that seminal moment. They were running around the stage, working the camera, and that's the moment when they both kind of looked at each other in the eye and said, 'Let's make TINTIN.'"
Empire magazine also states that other than Spielberg and Jackson (who we already know are using Cameron's technology for shooting TINTIN right now), there are two others that have "signed up" and got "swept away" by the possibilities - Abrams and del Toro! SOOOO... one would naturally assume that Abrams' next STAR TREK could be 3D
For me, however the technology of
moviemaking evolves, I want to be at the
cutting edge. I want to be riding the wave. I
don’t want the wave to wash over me and be
looking at it from the backside heading
toward the shore with everybody else riding
it. I happen to enjoy that part of it a great
deal. On the other hand, the great balancing
act of technical filmmaking is to never
let the technology intrude stylistically to the
point that it interferes with narrative storytelling
and the heart and soul of the movie.
I would say I definitely didn’t get it right on
The Abyss. But I did get it right on Titanic
Aug 6, 2008, 08:36 PM ET
With 17 months to go before the release of James Cameron's sci-fi epic "Avatar," his first narrative feature since 1997's "Titanic," anticipation already is enormous. The wildly ambitious project will be made in stereoscopic 3-D and combine live action and computer animation using visionary new filmmaking techniques.
Slated to open Dec. 18, 2009, the production already has been in the works for 2 1/2 years. When completed, Cameron expects "Avatar" to be about 60% CG animation, based on characters created using a newly developed performance capture-based process, and 40% live action, with a lot of VFX in the imagery.
"It is the most challenging film I've ever made," Cameron said.
Still, the innovative filmmaker and digital 3-D pioneer and champion has never shifted his emphasis from storytelling.
"You have to make a good film that would be a good film under any circumstances," he said. "You have to put the narrative first. The reality is no matter how many (3-D) screens we get, you are still going to have a large number of people -- possibly the majority of people -- who see the film in a 2-D environment."
The live-action principal photography for "Avatar" was shot in New Zealand last fall and winter using the Fusion 3-D camera system. Cameron first used the Fusion to make his 2003 Imax 3-D film "Ghosts of the Abyss"; he and "Ghosts" director of photography Vince Pace invented the camera system for the project.
Now, Fusion camera systems are available for rental via Burbank-based 3-D provider Pace, through which president Vince Pace and Cameron continue to innovate and develop the technology. The system already has made its mark, having been used on such pioneering live-action digital 3-D titles as "Hannah Montana and Miley Cyrus: Best of Both Worlds Concert" and "Journey to the Center of the Earth."
Said Pace: "The systems themselves, in my opinion, can handle any creative challenge. We've learned a lot since shooting 'Ghosts of the Abyss.' "
With "Avatar's" principal photography completed, Cameron is focused on CG production. The helmer said his team has completed the performance capture (sometimes referred to as motion capture) of the actors and is in the post process of performance capture 3-D.
The CG involved a large amount of additional R&D that afforded the director new creative options and flexibility. For one, the film used a new performance capture production workflow.
"The way we developed the performance capture workflow on 'Avatar" is we have our virtual camera, which allows me to, in real time, hold a camera -- it's really a monitor -- in my hands and point it at the actors and see them as their CG chartacters," Cameron said.
The actors wear leotards and a "head rig" with a tiny standard-definition camera that takes an image of an actor's face. "That is going though facial algorithms and going back into the camera as a real-time CG face of the character," the helmer said. "You see it talk; you see the eyes move. It is pretty phenomenal.
"Once we've laid down a take, the take exists in the digital asset management system," he said. "It an be accessed at any time. Long after the actors have gone home, I'm still out there with the virtual camera, shooting coverage on the scene. I just have to play the take back. I can do the close up, the wide shot. ... I can even move them around on a limited basis. We relight it. We do all kinds of things.
"It's this amazing ability to quickly conjure scenes and images and great fantasyscapes that is very visual. We call it 'director centric' because I can use the camera to block the actors," Cameron related. "When you are doing performance capture, creatively it's very daunting. It's very hard to imagine what it will look like. But if you can see it, if you can have a virtual image of what is it going to be like, then you are there. As the processing power goes up our models get more sophisticated and our lighting tools get more sophisticated, even while we are making this movie. I'm still doing a lot of virtual camera work on the film ... on stuff that was shot six months ago."
Cameron also used what he calls FPR, or Facial Performance Replacement, which he likens to the film sound technique of ADR (Automated Dialogue Replacement).
To describe the process, the director relates that he recently wanted to redo a line spoken by actor Laz Alonzo. "We changed the words and he redid the dialogue. We didn't have to recapture (his body performance) and he didn't have to put the performance capture suit on again. We were just creating new words, and we were creating a new face."
On the cinematography, Cameron related that his goal was to create "one movie where the aesthetics of physical production and the aesthetics of virtual production are, to the extent that we could do it, pretty much it identical."
Reaching this goal involved development of what Cameron calls the 'Simulcam,' which essentially treats a real camera like the virtual camera and in turn helps to remove guesswork. "We're taking our virtual production toolset and superimposing it on physical production," Cameron said. "We turned the set on the soundstage into a capture volume and turned the physical camera into a capture virtual camera, so we were able to integrate CG characters and environments into our live action."
As an example of how this works, he explained: "We have people in flying vehicles, and I can see what is outside the window, fed in, in real time."
On 3-D, both Cameron and Pace are looking ahead.
"The real question is 'where does all this go?" Cameron said. "Are we looking at a situation maybe 10-15 years out where most laptops are sold with 3-D stereoscopic screens, most montors are stereo compatible, most DVD players can run stereo content? ... I can see this becoming much more pervasive that we are thinking now."
He and Pace believe content is the key.
Pace addressed one last--and not often addressed--aspect of 3-D: The archival value.
"I think back of our shots at Titanic (lensed for "Ghosts of the Abyss"). Those have incredible, future proof, archival value," Pace said. "When we look at (3-D) display devices in the home (which are already becoming available)--a lot of filmmakers and studios need to be making 3-D right now. Those production commitments are often based on the here and now, instead of thinking about how much value there is to this 3-D product in the future. Why not master in 3-D now if there is only an incremental expense? Why not think about that now?"
Retro: noen gode trailere\teasere, som ikke røper for mye
Kåret til tidenes beste: [YOUTUBE]LAZ6aDYcCuw[/YOUTUBE] In space no one can hear you scream
"Masterfully cut and artful to boot, the first glimpse of Ridley Scott's 1979 sci-horror classic features not a single word of dialogue and begins in abstract: a ride through a star field, a hover above some sort of moon rock, blocky shapes that slowly materialize into the letters of the title, craggy landscape traversed with a macro lens before pulling back to clarify what lies on that cratered surface -- the egg of an alien life form. It cracks open, releasing an ill-omened white light and the high-pitched alarm (an animalistic squeal?) that unnerves throughout the rest of the trailer.
Astronauts tiptoe into an extraterrestrial ship, crosscut with Sigourney Weaver inexplicably running through corridors, with confounding/enticing images flashing almost subliminally in between (a space crew awakening from hyper-sleep, Harry Dean Stanton's bewildered close-up) before all hell breaks loose (an obscured Ian Holm spurting milky blood, a cat hissing, a never-before-seen "face hugger" in a frenzy). From above the planet, an onscreen title ultimately seals the deal, seeming all the more foreboding for the vaccuum of diegetic sound that came before it: "In space, no one can hear you scream." It's one of the most famous taglines of all time, though I'm quite partial to the far less effective "Alien3" slogan that ambiguously referenced either a breeding alien or Weaver's Lt. Ripley, believe it or not ("In case you haven't noticed, the bitch is back"). --Aaron Hillis
Og et par Cameron filmer
The 50 Greatest Trailers of All Time - Lists - News - IFC.com
07-24-2009, 02:49 #60