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    Thor The Dark World: Previsualization Effects Exclusive

    To create the world of Asgard in Thor: The Dark World, filmmaker Alan Taylor enlisted the help of digital effects company The Third Floor. Using a process called previsualization, The Third Floor created fully rendered low-res CG sets and characters, allowing the director to see, plan out, and experiment with scenes before shooting them.

    Released on 11/26/2013

    Transcript

    (snippet of piano music)

    You must be truly desperate to come to me for help.

    (laser blasts)

    [Thor] If we do nothing, they will destroy us.

    (drums strike)

    (loud smack)

    That was for New York.

    (chuckles)

    I like her.

    (dramatic choral music)

    [Malekith] Thor, your bravery will not ease your pain.

    (Thor screams)

    Hi, I'm Mike Seymour from fxguide.com for WIRED.

    We all know that big, tent-pole pictures

    pivot on visual effects, and most people know

    that previs is used to effectively pre-make the film

    so that scenes can be timed and worked out by the director,

    such as Thor's The Dark World's, Alan Taylor.

    Here are some exclusive shots of that previs created

    for The Dark World by Third Floor in London and L.A.

    (crashing)

    Not only is the previs looking better and better

    these days, but companies like The Third Floor

    will also provide post-viz.

    So it's so much quality and particular control

    you might think that the whole film is shot

    on blue screen and just rendered in the computer.

    So, it's perhaps just a little bit surprising

    to see just how much practical special effects

    were used in a film like Thor.

    Hydraulic rams, concrete blocks,

    and, yep, that's a real concrete truck.

    [Director] Action!

    [Mike] And also to see how far they travel to film

    on alien-looking, realistic, Icelandic locationss.

    Yeah, a lot of the work we've been doing on

    Thor 2 has been to try and ground it, to sort of,

    even though we're travelling nine realms in the universe,

    to never depart from it feeling real.

    And, you know, it's very important for me to shoot

    on locations in Iceland, to actually go to the world

    where all this stuff came from

    and try and get that, like I said, the later imagery

    in the comics into the movie.

    (swell of dramatic music)

    [Mike] Thor still has an awful lot of fully digital shots,

    Wow.

    [Mike] but the actors were also able to do

    a lot of their own stunts because of the detailed planning,

    plus the great on-set practical effects team.

    The director could, basically, film extremely complex shots

    without resorting to just filming two guys

    in a giant blue box on a sound stage in Hollywood somewhere.

    Well, at least, most of the time.

    (crashing)

    I think you missed a column.

    Shut-Up!

    (swell of energy)

    (smashes)

    (air swooshing)

    Look, why don't you set me take over.

    I'm clearly the best pilot.

    Is that right?

    Well, out of the two of us, which one can actually fly?

    (people cry out)

    (guns blast)

    (thunder rumbles)

    Don't forget to subscribe for more

    behind the scenes action.

    I'm Mike Seymour for Wired.

    Starring: Mike Seymour

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