Re: More evidence of the Nod and Imipak trolls resounding defeat.
- From: doctor@xxxxxxxxxxxxxxxxx (The Doctor)
- Date: Sun, 10 May 2009 13:42:28 +0000 (UTC)
In article <c90d1b05-2eb7-43c9-b92c-a5a00629a962@xxxxxxxxxxxxxxxxxxxxxxxxxxxx>,
sadako <tom80s@xxxxxxxxxxx> wrote:
On 10 May, 04:48, "Agamemnon" <agamem...@xxxxxxxxxxxxxxxx> wrote:
This article describes how the Titanic effects were put together. It clearly
shows that the Imipak troll is a systematic liar along with the Nod troll
and both failed to provide what was needed for the render. The effects on
Titanic were mainly model shots and motion capture and very little CGI was
used in comparison. Given that the only thing that was computer generated
from scratch was the waves in the water and this could have easily done on a
single P100 at the time, and everything else was texture mapped with just
shadows added, it looks like Titanic was rendered on just one PC connected
up to a very large bank of hard drives. The up to 500 layers (500 motion
captured people) which were used for each frame would have taken up 1GB of
space per frame and would have taken a least an hour just to read at the
speed HDDs and IDE and SCSI busses ran at in 1995. Of course nowadays 1GB
can be read and written in 12 seconds or better (FACT), which is more than
200 times faster.
http://www.wired.com/wired/archive/6.10/hollywood_pr.html
The Money Shot
How does a filmmaker blow US$1.1 million on less than one minute of
big-screen entertainment? Digital Domain's budget for a 40-second shot on
the deck of the Titanic translates to $27,500 per second, making it the most
expensive cinematic moment to date. (The average CG f/x shot lasts only five
seconds, at a cost of $25,000 per second.) The scene begins with actor
Leonardo "King of the World!" DiCaprio whooping it up on the prow and pulls
back into a slow reveal of the entire ship, with a nonexistent camera
tracking freely in digital space. Hundreds of motion-captured virtual actors
walk the decks, faux water splashes up against the ship's bow, simulated
smoke billows from stacks, an artificial afternoon sun casts long shadows.
Together, these elements conspire to make the shot an algorithmic
achievement that, unlike the ship, may prove unsinkable.
- Paula Parisi
Live Action
Both a scale model of the ship and actors Leonardo DiCaprio and Danny Nucci
are photographed against a greenscreen. As the camera swoops back from the
pair into a pan of the ship, their images are swapped with digital
re-creations. Broken out separately, the actors' fees would be the cheapest
line items on the chart - about $4,000 for DiCaprio and $500 for Nucci.
Cost: $150,000
Synthespians
The decks are populated with 515 CG humans to infuse the shot with motion
and life. Body doubles (mostly DD staffers) were recruited for
motion-capture sessions. They were rigged with recording markers, and their
actions - strolling, bending, chasing a ball - were picked up via
infrared-based cameras. The data was then used to animate CG figures.
Rendering shadows, which had to remain consistent with those of the ship,
became an additional hurdle.
Cost: $300,000
Scale Model
A 44-foot, 1/20th-scale Titanic model, built of wood, plastic, steel, and
brass, required 50 craftspeople to toil for four months and cost close to $1
million. Based on original blueprints from Titanic builder Harland & Wolff
and built with 1,000 portholes and 100,000 rivets, the model never once
touched water. Since this prop was used in scenes throughout the film, the
figure below represents the cost of its use in this one shot.
Cost: $50,000
Finishing Touches
Digital birds, smoke, flags, Marconi wires, and wind-rippled canvas lifeboat
covers were plugged in.
Cost: $100,000
Ocean of Bits
DD codesmiths enhanced an off-the-shelf water-simulation program so the
ocean would respond to the ship and such environmental elements as light
refraction, wave patterns, and wind speed. Collision-detection algorithms
produced a loamy wake the length of the ship's hull. Real water was
photographed for splashes on the bow and wake at the stern.
Cost: $250,000
Compositing
In the final step, compositors assembled the elements that make up the
scene, including 400 to 500 layers of digital-effects imagery, which was
then output to film. "We hit the limit with our software, which goes 300
layers deep," says compositing supervisor Carey Villegas. "So we had to
write scripts to put it all together." Render time for water was tediously
slow, averaging three hours per frame. The liquid landscape alone accounted
for some 3,000 hours of CPU time.
Cost: $250,000
Total cost: $1.1 million Total length of shot: 40 seconds, or 954 frames
Source: Estimates derived from data provided by Digital Domain and other f/x
houses.
Aggy, has your shipment of fail been delivered yet?
Yur brain has failed to click the day you wre born Tom80s the SADaction.
--
Member - Liberal International This is doctor@xxxxxxxxxx
Ici doctor@xxxxxxxxxx God, Queen and country! Beware Anti-Christ rising!
Never Satan President Republic!
12 May BC vote Liberal and remember the NDP scandals like Mulroney!
.
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