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.
Reditelj Žorž Melies je bio ponajpre mađioničar. Filmovi su se dokazali kao krajnji medijum za magiju. Sa potpunom kontrolom svega što publika gleda, kinematografi su razvili arsenal tehnika da bi produbili svoje obmane.
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.
Filmovi su sami po sebi iluzija života, izrađena od sekvencijalnih projekcija kadrova bez pokreta, i oni su zadivili ranu publiku braće Lumier. Čak se i današnji prefinjeni bioskopski gledaoci još uvek izgube u filmskom platnu, a reditelji iskorišćavaju ovo odvajanje od stvarnosti sa velikim efektom. Maštoviti ljudi se zabavljaju sa ovim preko 400 godina. Đanbatista dela Porta, napolitanski učenjak u 16. veku, istražio je i proučio prirodni svet i shvatio kako se njime može manipulisati. Poigravanje sa svetom, i našom percepcijom istog, zaista je suština vizuelnih efekata. Tako da dublje proučavanje ovoga sa Savetom za nauku i tehnologiju Akademije filmskih umetnosti i nauka otkriva neke istine iza obmane.
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.
Vizuelni efekti se zasnivaju na principima svih iluzija: pretpostavka, stvari su onakve kakve ih poznajemo; presumpcija, stvari će se ponašati kako mi očekujemo; i kontekst u stvarnosti, naše znanje o svetu kakvog poznajemo, kao skala.
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.
Četvrti faktor zaista postaje opsesija, a on je, nikad ne izdaj iluziju. I ta poslednja tačka je načinila od vizuelnih efekata konstantnu potragu za savršenstvom. Tako da od ranih dana i ručno-navijanih "jump cut" rezova filma do prošlonedeljnog dobitnika Oskara, ono što sledi su neki koraci i poneka ponavljanja u evoluciji vizuelnih efekata. Nadam se da ćete uživati.
Isabelle: "The filmmaker Georges Méliès was one of the first to realize that films had the power to capture dreams."
Izabel: "Reditelj Žorž Melies je bio jedan od prvih koji su shvatili da filmovi imaju moć da uhvate snove."
(Music) ["'A Trip to the Moon' (1902)"]
(Muzika) [" 'Put na Mesec' (1902) "]
["2011 Restoration of the Original Hand-Tinted Color"]
["2011 Restauracija originalne ručno nanošene boje"]
["'2001: A Space Odyssey' (1968)"]
[" '2001: Odiseja u svemiru' (1968)"]
["Academy Award Winner for Visual Effects"]
[" Dobitnik Oskara za vizuelne efekte "]
["'Avatar' (2009)"] First doctor: How are you feeling, Jake?
[" 'Avatar' (2009)"] Prvi doktor: Kako se osećaš, Džejk?
Jake: Hey guys. ["Academy Award Winner for Visual Effects"]
Džejk: Hej ljudi. ["Dobitnik Oskara za vizuelne efekte"]
Second doctor: Welcome to your new body, Jake.First doctor: Good.
Drugi doktor: Dobrodošao u tvoje novo telo, Džejk. Prvi doktor: Dobro.
Second doctor: We're gonna take this nice and easy, Jake.First doctor: Well, do you want to sit up? That's fine.
Drugi doktor: Uradićemo ovo lepo i polako, Džejk. Prvi doktor: Dakle, da li želiš da sedneš? Dobro je.
Second doctor: And good, just take it nice and slow, Jake.
Drugi doktor: I dobro, samo lepo i polako, Džejk.
Well, no truncal ataxia, that's good.First doctor: You feeling light-headed or dizzy at all? Oh, you're wiggling your toes.
Pa, nema trunkalne ataksije, to je dobro. Prvi doktor: Osećaš li bilo kakvu malaksalost ili vrtoglavicu? O, mrdaš prstima na nogama.
["'Alice's Adventures in Wonderland' (1972)"]
[" 'Alisa u zemlji čuda' (1972) "]
Alice: What's happening to me?
Alisa: Šta mi se to dešava?
["'Alice in Wonderland' (2010)"]
[" 'Alisa u zemlji čuda' (2010)"]
["Academy Award Nominee for Visual Effects"]
["Nominovan za Oskara za vizuelne efekte"]
["'The Lost World' (1925)"]
[" 'Izgubljeni svet' (1925)"]
["Stop Motion Animation"]
[" 'Stop motion' animacija"]
["'Jurassic Park' (1993)"] [Dinosaur roars]
[" 'Park iz doba Jure' (1993"] [Rika dinosaurusa]
["CG Animation"]
["CG animacija"]
["Academy Award Winner for Visual Effects"]
["Dobitnik Oskara za vizuelne efekte"]
["'The Smurfs' (2011)"]
[" 'Štrumpfovi' (2011)"]
["Autodesk Maya Software - Key Frame Animation"]
["Autodesk Maja Softver - 'Key Frame' animacija"]
["'Rise of the Planet of the Apes' (2011)"]
[" 'Uzdizanje Planete majmuna' (2011)"]
Chimpanzee: No! ["Academy Award Nominee for Visual Effects"]
Šimpanza: Ne! ["Nominovan za Oskara za vizuelne efekte"]
["'Metropolis' (1927)"]
[" 'Metropolis' (1972)"]
(Music)
(Muzika)
["'Blade Runner' (1982)"]
[" 'Istrebljivač' (1982)"]
["Academy Award Nominee for Visual Effects"]
["Nominovan za Oskara za vizuelne efekte"]
["'The Rains Came' (1939)"] Rama Safti: Well, it's all over.
[" 'Stigle su kiše' (1939)"] Rama Safti: Dakle, sve je gotovo.
Maharaja: Nothing to worry about, not a thing.
Maharadža: Ništa za brigu, ništa.
['Academy Award for Special Effects - (First Year of Category)"] (Explosion)
["Dobitnik Oskara za Specijalne efekte - (prva godina Kategorije)"] (Eksplozija)
["'2012' (2009)"]Governor: It seems to me that the worst is over.
[" '2012' (2009)"] Guverner: Čini mi se da je najgore prošlo.
["CG Destruction"]
[" 'CG uništenje' "]
["'Lord of the Rings: The Return of the King' (2003)"]
[" 'Gospodar Prstenova: Povratak Kralja' (2003)"]
["Massive Software - Crowd Generation"]
[" 'Massive Softvare' - stvaranje mase"]
["Academy Award Winner for Visual Effects"]
["Dobitnik Oskara za vizuelne efekte"]
["'Ben Hur: A Tale of the Christ' (1925)"]
[" 'Ben Hur: Priča o Hristu' (1935)"]
["Miniatures and Puppets Bring the Crowd to Life"]
["Minijature i lutke oživljavaju publiku"]
["'Gladiator' (2000)"]
[" 'Gladijator' (2000)"]
["CG Coliseum and Digital Crowds"]
["CG Koloseum i digitalna svetina"]
["Academy Award Winner for Visual Effects"]
["Dobitnik Oskara za vizuelne efekte"]
["'Harry Potter and the Deathly Hallows Part 2' (2011)"]
[" 'Hari Poter i Relikvije Smrti 2. deo' (2011)"]
["Academy Award Nominee for Visual Effects"]
["Nominovan za Oskar za vizuelne efekte"]
["Produced in conjunction with the Academy's Science and Technology Council."]
["Proizvedeno u saradnji sa Savetom Akademije za nauku i tehnologiju."]
(Applause)
(Aplauz)
["'It is today possible to realize the most impossible and improbable things.' — Georges Méliès"]
[" 'Danas je moguće shvatiti krajnje nemoguće i neverovatne stvari.' - Žorž Melies"]
Don Levy: Thank you.
Don Levi: Hvala.