Sat. Nov 27th, 2021

They call it “Sandscreen.” In the deserts of Jordan and the United Arab Emirates, where director Denis Villeneuve did most of the shooting. HillEverything is different in beige shades. To match this, Visual Effects Supervisor Paul Lambert has done something he has never done before: his green screen has turned brown. Sandscreen means villains can get all her beauty shots in the desert, and Lambert can easily add whatever he needs to post-production. All he had to do was change the color of the sand for any building, background or animal. This allows each shot to look as natural as possible এবং and allows them to create the most iconic creatures in a sci-fi.

We are definitely talking about sandworm. As described by Frank Herbert Hill, Sand insects are huge creatures that live in the vast sands of the Arakis and produce “spices” – the most valuable substance in the known universe. Fremen, for the indigenous people of Arakis, they also act as transports. Fremen bridles their fibrous exterior and stands over them as they walk through the desert. Sandscreen means Lambert can portray an actor in a sand insect “riding” position – basically a platform on a movable gimbal covered in beige – and then attach the worm below it with a CGI. This enabled Lambert to create uninterrupted VFX shots (more than 2,000 of which were Hill), And the ability to make a film that looks as natural as Villeneuve. “I’m never a supervisor who would say to Dennis, ‘Look, if we make all these blue screens …'” Lambert said. “I don’t work that way.”

Designing insects themselves was another feat. Villeneuve starts working Hill Just after he finished Blade Runner 2049 In 2017. “I needed a lot of time, and [the studio] Gave me time, “says Villeneuve.” When we started preparing, everything was mostly designed, the ideas of the art were done. ” Their structure, the ton of sand they need to go through.

“Of course, there is such a big fan base Hill If you go to the Internet, Google, for example, ‘Hill There are many different versions of Sandworm, ”said Vermet. “And Hill Science has created such an inspiration and movie for lovers of fiction. There is a sandworm in Star Wars. So, we wanted to do something very real and terrible. “

The sandworm design they came up with is what Lambert called “prehistoric”. It is fibrous and covered with scales and appears to be hundreds of feet long. One of the best templates was Whale. The large, gapfolk of the sand worm, which faces Paul Atreides (Timothy Chalamate), is full of sand; Its movement beneath the surface had to be very static. Lambert’s team used all of these ideas to digitally create worms, rendering their textures. Clarice, Animation using them Maya, And then the combination of each shot Nucleus.

Then there was the matter of naming insects: sand. The animals themselves get some money shots inside Hill, But many times they are characterized by their movements underground. The waves on the surface of the hills, which Herbert called “Worm marks, ”Also had to be created digitally. When he was stationed in the desert, Lambert wanted to get some idea of ​​how to imagine the huge sand displacement that insects could cause by leaving explosives underground, “but that’s probably not the best thing to do in the Middle East.” Instead, he created a simulation using moving sand Howdy Software, Mainly based on water movement.

Which brings us to something else unique about sandworms: their audible effects. In addition to shaking the ground, Freeman এবং and moviegoers সদস্য should be able to hear insect movements in the Arakis desert. Sandworms also follow underground sounds, almost like gold (again: whales), which is why Fremen confuses animals using “thumpers” that constantly hit the ground surface. That means HillAnimals need to have their own voices – a task that fell to the sound team of Mark Mangini and Theo Green. The pair worked with Villeneuve Blade Runner 2049 And came up with a philosophy in the process that was carried out Hill: “All of these words should feel like they live in a universe we know,” Mangini said. Villeneuve “was very interested in everything we heard of organic or acoustic sensations.”

To practice that philosophy, they came up with another new idea: fake documentary realism, or FDR for short. The idea was that Hill Sending Arrakis needs to sound like a documentary made by a crew. Not too much “sound design-y,” Green said. So for the sandworm, the pair rejected the clichের of the monster movie and coined a “flute-like” sound for the worms – indicating danger from afar. They took a hydrophone-underwater microphone to Death Valley and recorded the sound of sand moving. For the sound of worms opening their mouths, they create a “singer-songwriter-singer” melody by placing levels of processed human and animal sounds. (The pair are reluctant to give an example. “I don’t think there was anything particularly external,” says Mangini.) Does it make noise when swallowed whole by a spice cutting machine? Mangini is sucking a lot of air in her mouth.

The result is something that is hauntingly scattered, such as Arakis himself. It’s also very different from most sci-fi movie whistle-bangs. “I noticed about Dennis that he never gave me anything from another movie as a reference,” Green says. “He uses other movies as examples of what he shouldn’t do,” Mangini added. Sandworms, different from those movie monsters. More than scary, Villeneuve wanted people to feel respect for the insects when they appeared on screen, telling Mangini “this is more God than Godzilla.”

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