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Créé le : 08/07/2006 01:21
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abdellatif google-198620@hotmail.fr

19/12/2006 14:58

 abdellatif    google-198620@hotmail.fr


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abdellatif     google-198620@hotmail.fr   minko_@hotmail.fr    prorat_google__198620@hotmail.fr   ahlin bkom






swi9.vip-blog.com

23/12/2006 20:07

swi9.vip-blog.com


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mustapha dell-19_g_@hotmail.com

30/12/2006 18:58

mustapha  dell-19_g_@hotmail.com



Bullet Time was just the beginning. F/x guru John Gaeta reinvents cinematography with The Matrix Reloaded.

By Steve Silberman

I'm sitting in a former naval barracks in Alameda, California, watching the digital assembly of a human face. Bones, teeth, glistening eyes. Layer upon layer. Finally the hair and skin, the creases and tiny scars that make us who we are. The face blinks and breathes. Then it snarls, and my skin crawls.

Agent Smith is back, and he's pissed.

Matthew Welch
Matthew Welch
You'll be seeing a lot of Agent Smith this year. Neo's man-in-black nemesis returns on May 15 in The Matrix Reloaded, the continuing story of a young hacker who learns that the apparently real world is an elaborate computer simulation. In November, a second sequel, Matrix Revolutions, will take up where Reloaded's nail-biting climax leaves off.

Things have changed since 1999. In the last shot of the original film, Neo, played by ex-slacker Keanu Reeves, flew up out of the frame, demonstrating that his mental abilities had become stronger than the enslaving delusion of the Matrix. Now he's a full-fledged superhero, soaring over the skyline at thousands of miles an hour and making a rescue as trucks collide head-on. The bad news: Agent Smith, played by Hugo Weaving, is a rogue virus in the Matrix, able to multiply himself at will. And the last free human city, Zion, in a cave near the Earth's core, is under attack.

What hasn't changed is the dark, richly nuanced aesthetic of brothers Larry and Andy Wachowski, a pair of Hollywood outsiders who wrote and directed what became the most successful movie in the history of Warner Bros. The Wachowskis had always conceived of Neo's odyssey as a trilogy, but to release both sequels months apart - plus the videogame Enter the Matrix and an anime series called The Animatrix - required a year of intense collaboration, as the scripts, sets, and shot designs all evolved together.

The Matrix raised the bar for action films by introducing new levels of realism into stunt work and visual effects. For Reloaded and Revolutions, the Wachowskis dreamed up action sequences that were so over-the-top they would require their special-effects supervisor, John Gaeta, to reinvent cinematography itself.

Matthew Welch
Matthew Welch
So what does a visual effects supervisor do to follow up the Matrix trilogy? Gaeta says his next project will be "some combination of Akira, Busby Berkeley, and Apocalypse Now."
With four Academy Award nominations to their credit, the members of the core Matrix team reconvened in February 2000 at a secret location near the beach outside of Los Angeles. There - at the home base of Eon, the Wachowskis' production company - Gaeta, concept artists Geof Darrow and Steve Skroce, production designer Owen Patterson, producer Grant Hill, and the brothers brainstormed around "the most James Bond table you've ever seen," Gaeta says. Hanging above it were pulldown screens linked to 3-D workstations so that art and designs could be discussed collectively. Over the next year, a river of drawings, storyboards, and stage plans flowed into Eon's asset-management network, which was christened (what else?) the Zion Mainframe.

For visual ideas and inspiration, the group cranked up Alien, 2001, Vertigo, Apocalypse Now, Koyaanisqatsi, and 20,000 Leagues Under the Sea, along with documentary footage of car crashes, robotics manufacturing, 19th-century submarines, glassblowers at work, the drilling of the Chunnel, the heavyweight bouts of Rocky Marciano, and the explosion of the Hindenburg. Madhouse, the makers of Akira and Metropolis, prepared a custom reel of explosions of various types and sizes for the Wachowskis, who were particularly interested in the ways that natural phenomena - weather, water, flames - are depicted in anime as intelligent obstacles, characters in their own right.

As the team tossed ideas around for one hellacious fight scene that became known in-house as the Burly Brawl, Gaeta realized that the innovative technology he and his crew developed for The Matrix's ultra slo-mo action sequences would not be sufficient to bring the Wachowskis' new vision to the screen. Those oft-imitated shots - now universally known as Bullet Time - required serpentine arrays of meticulously aligned cameras, and months of planning, for a brief scene featuring two or three actors. In the Burly Brawl, super-Neo would battle more than 100 Agent Smiths in an extended orgy of kung fu orchestrated by crack martial-arts choreographer Yuen Woo-Ping.

To develop the technology needed for the Burly Brawl, Eon and Warner Bros. launched ESC, a visual-effects skunk works in an old naval base across the bay from San Francisco. ESC ultimately produced more than a thousand visual-effects shots for the two sequels, and the company has operated in stealth mode until now. The word Matrix didn't even appear on the scripts' title pages; instead, they were tagged with a code name, The Burly Man.

For Reloaded's blowout chase sequence - Trinity and a character called the Keymaker haul ass on a motorcycle to the nearest landline, past carloads of marauding bad guys - ESC constructed a quarter mile of new freeway on the naval base. Eventually, Gaeta enlisted more than 500 digital artists from a roster of cutting-edge effects vendors (including Sony Pictures Imageworks, Animal Logic, Tippett Studio, BUF Compagnie, and Giant Killer Robots) to create everything from shimmering swarms of Matrix code to thousands of vengeful robot "squiddies" burrowing toward Zion.

But the Burly Brawl became Gaeta's personal obsession. Like many in the film industry, he has been talking for years about the promise of virtual cinematography, a confluence of technologies that would allow directors to sculpt actors' performances with the ease of tweaking a CAD file. The traditional ways of doing this, however, reduce the world to the kinds of data that computers easily understand, and the result often ends up looking like a glorified videogame. That wouldn't work for the Burly Brawl, a fight that erupts in a virtual prison indistinguishable from the real world.

"People get really preoccupied with, 'Are you going to top yourselves this time? Are you really gonna come up with a zinger?'" Gaeta tells me. "My job has nothing to do with making zingers. The point is not to knock you over with a visual trick. The point is to be able to construct events that are so complex, in terms of what human bodies need to do, that the total 'effect' is impossible choreography. 'My God! It looks real, but it just can't be.'"


Contributing editor Steve Silberman (digaman@wiredmag.com) wrote about bacterial communication in Wired 11.04.

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