The filmmaker Georges Méliès was first a magician. Now movies proved to be the ultimate medium for magic. With complete control of everything the audience can see, moviemakers had developed an arsenal of techniques to further their deceptions.
Georges Méliès, sang sineas, ibarat seorang pesulap. Kini, film terbukti merupakan bentuk nyata kekuatan magis. Dengan kendali mutlak atas segala yang dilihat penonton, para pembuat film telah mengembangkan sejumlah metode untuk menyempurnakan ilusi mereka.
Motion pictures are themselves an illusion of life, produced by the sequential projection of still frames, and they astonished the Lumière brothers' early audiences. Even today's sophisticated moviegoers still lose themselves to the screen, and filmmakers leverage this separation from reality to great effect. Now imaginative people have been having fun with this for over 400 years. Giambattista della Porta, a Neapolitan scholar in the 16th century, examined and studied the natural world and saw how it could be manipulated. Playing with the world, and our perception of it, really is the essence of visual effects. So digging deeper into this with the Science and Technology Council of the Academy of Motion Picture Arts and Sciences reveals some truth behind the trickery.
Film adalah salah satu wujud ilusi kehidupan, terbuat dari proyeksi berurutan gambar diam, dan mereka memukau para penonton pertama Lumière bersaudara. Bahkan penonton film masa kini yang berpengetahuan luas masih merasa takjub saat menonton film, dan para sineas memanfaatkan eskapisme ini secara maksimal. Orang-orang yang penuh imajinasi telah bersenang-senang dengan hal ini selama lebih dari 400 tahun. Giambattista della Porta, seorang cendekiawan Neapolitan pada abad ke-16, meneliti dan mempelajari alam sekitar dan menyadari bahwa ia dapat memanipulasinya. Bermain dengan alam, dan persepsi kita akan hal ini, adalah esensi dari efek visual. Maka, lebih dalam mengenai hal ini, Bidang Sains dan Teknologi dari Academy of Motion Picture Arts and Sciences memperlihatkan suatu realita di balik ilusi.
Visual effects are based on the principles of all illusions: assumption, things are as we know them; presumption, things will behave as we expect; and context in reality, our knowledge of the world as we know it, such as scale.
Efek visual dibuat berdasar segala prinsip ilusi: asumsi, suatu hal yang sudah kita ketahui, presumsi, suatu hal akan bersifat seperti yang kita prediksi, dan konteks dalam realitas, pengetahuan kita akan dunia sebagaimana kita tahu, dalam skala itu.
Now a fourth factor really becomes an obsession, which is, never betray the illusion. And that last point has made visual effects a constant quest for perfection. So from the hand-cranked jump cut early days of cinema to last Sunday's Oscar winner, what follows are some steps and a few repeats in the evolution of visual effects. I hope you will enjoy.
Sekarang, faktor keempat menjadi suatu obsesi, yaitu, jangan menghilangkan ilusi itu. Poin terakhir tersebut yang membuat efek visual menjadi pencarian kesempurnaan yang abadi. Dari perpindahan adegan yang digerakkan secara manual di era awal perfilman hingga pemenang Oscar hari Minggu lalu, berikut ini adalah beberapa langkah dan beberapa repetisi dalam evolusi efek visual. Selamat menikmati.
Isabelle: "The filmmaker Georges Méliès was one of the first to realize that films had the power to capture dreams."
Isabelle: “Sineas Georges Méliès adalah orang pertama yang menyadari kekuatan sinema untuk menggambarkan impian.”
(Music) ["'A Trip to the Moon' (1902)"]
(Musik) [“A Trip to the Moon’ (1902)“]
["2011 Restoration of the Original Hand-Tinted Color"]
[“Restorasi Pewarnaan Manual Original Tahun 2011”]
["'2001: A Space Odyssey' (1968)"]
[“2001: A Space Odyssey’ (1968)“]
["Academy Award Winner for Visual Effects"]
[“Pemenang Academy Award untuk Efek Visual”]
["'Avatar' (2009)"] First doctor: How are you feeling, Jake?
[“‘Avatar’ (2009)“] Dokter: Bagaimana keadaanmu?
Jake: Hey guys. ["Academy Award Winner for Visual Effects"]
Jake: Hei kawan. [“Academy Award untuk Efek Visual”]
Second doctor: Welcome to your new body, Jake.First doctor: Good.
-Selamat datang di tubuh barumu, Jake. -Bagus.
Second doctor: We're gonna take this nice and easy, Jake.First doctor: Well, do you want to sit up? That's fine.
-Kita lakukan perlahan, Jake. -Kau mau duduk? Baiklah.
Second doctor: And good, just take it nice and slow, Jake.
-Bagus, lakukan pelan-pelan, Jake.
Well, no truncal ataxia, that's good.First doctor: You feeling light-headed or dizzy at all? Oh, you're wiggling your toes.
-Tidak ada ataksia trunkus, bagus. -Kau tidak merasa pusing atau semacamnya? Oh, kau menggerakkan jari kakimu.
["'Alice's Adventures in Wonderland' (1972)"]
[“‘Alice’s Adventures in Wonderland’ (1972)“]
Alice: What's happening to me?
Alice: Apa yang terjadi padaku?
["'Alice in Wonderland' (2010)"]
[“‘Alice in Wonderland’ (2010)“]
["Academy Award Nominee for Visual Effects"]
[“Nomine Academy Award untuk Efek Visual”]
["'The Lost World' (1925)"]
[“‘The Lost World’ (1925)“]
["Stop Motion Animation"]
[“Animasi <i>Stop Motion</i>“]
["'Jurassic Park' (1993)"] [Dinosaur roars]
[“‘Jurassic Park’ (1993)“] [Dinosaurus meraung]
["CG Animation"]
[“Animasi Komputer”]
["Academy Award Winner for Visual Effects"]
[“Pemenang Academy Award untuk Efek Visual”]
["'The Smurfs' (2011)"]
[“‘The Smurfs’ (2011)“]
["Autodesk Maya Software - Key Frame Animation"]
[“Perangkat lunak Autodesk Maya - Animasi <i>Key Frame</i>“]
["'Rise of the Planet of the Apes' (2011)"]
[“‘Rise of the Planet of the Apes’ (2011)“]
Chimpanzee: No! ["Academy Award Nominee for Visual Effects"]
Simpanse: Tidak! [“Nomine Academy Award untuk Efek Visual”]
["'Metropolis' (1927)"]
[“‘Metropolis’ (1927)“]
(Music)
(Musik)
["'Blade Runner' (1982)"]
[“‘Blade Runner’ (1982)“]
["Academy Award Nominee for Visual Effects"]
[“Nomine Academy Award untuk Efek Visual”]
["'The Rains Came' (1939)"] Rama Safti: Well, it's all over.
[“The Rains Came (1939)“] Rama Safti: Tamatlah.
Maharaja: Nothing to worry about, not a thing.
Maharaja: Jangan khawatir. Tak apa.
['Academy Award for Special Effects - (First Year of Category)"] (Explosion)
[“Academy Award untuk Efek Visual - Tahun Pertama Kategori Ini”] (Ledakan)
["'2012' (2009)"]Governor: It seems to me that the worst is over.
[“‘2012’ (2009)“] Gubernur: Sepertinya hal terburuk sudah berlalu.
["CG Destruction"]
[“Animasi CG Kehancuran”]
["'Lord of the Rings: The Return of the King' (2003)"]
[“‘Lord of the Rings: The Return of the King’ (2003)“]
["Massive Software - Crowd Generation"]
[“Massive Software - Pemunculan Kerumunan”]
["Academy Award Winner for Visual Effects"]
[“Pemenang Academy Award untuk Efek Visual”]
["'Ben Hur: A Tale of the Christ' (1925)"]
[“‘Ben Hur: A Tale of the Christ’ (1925)“]
["Miniatures and Puppets Bring the Crowd to Life"]
[“Penggunaan miniatur dan boneka untuk menggambarkan penonton”]
["'Gladiator' (2000)"]
[“‘Gladiator’ (2000)“]
["CG Coliseum and Digital Crowds"]
[“Animasi CG Koloseum dan Kerumunan Penonton”]
["Academy Award Winner for Visual Effects"]
[“Pemenang Academy Award untuk Efek Visual”]
["'Harry Potter and the Deathly Hallows Part 2' (2011)"]
[“‘Harry Potter and the Deathly Hallows Part 2’ (2011)“]
["Academy Award Nominee for Visual Effects"]
[“Nomine Academy Award untuk Efek Visual”]
["Produced in conjunction with the Academy's Science and Technology Council."]
[“Diproduksi bersama Science and Technology Council Academy.”]
(Applause)
(Tepuk tangan)
["'It is today possible to realize the most impossible and improbable things.' — Georges Méliès"]
[“Saat ini mungkin untuk mewujudkan hal yang paling mustahil.′ - Georges Méliès”]
Don Levy: Thank you.
Don Levy: Terima kasih.