二楼送给我们亲爱的am……找的资料！
贴上英文版
I guess I should ask you about the actual movie. How done is it?
It’s pretty done. It has to be done. It has to come out on November 20. Which means we sort of have to hand it over October 30. Which means the picture has to lock August 30. And so in a few weeks it’ll be locked, the visual effects are in good shape, all the R&D on the more complicated, more ephemeral effects is being completed.
How weird was it, stepping into somebody else’s franchise?
It was a bit odd at first. But then again it’s pretty amazing to have a huge fan base just dropped into your lap. And it was a pleasure to be able to deliver faithfully on a book. With Golden Compass I felt that by being faithful to the book I was working at odds with the studio. But Summit understands that it’s Stephenie Meyer’s world, and really it’s about recreating the experience the reader has, in some kind of faithful manner. Creating a picture that doesn’t violate too badly the picture they have in their minds.
Was there technical stuff that you learned on Golden Compass that was useful here?
There was, yeah. It was really CGI boot camp. That was over 2000 special effects, and each one went through 200 or more iterations of, you know, what the talking ferret was doing at that point. Now to do werewolves and so forth is frankly no biggie. I mean, you still have to get things right, and take care of the process, but the bizarre things that you do — like, now we’re going to go check the DPX files, and oh, we’re going to have a CineSync with Tippett, cause they just uploaded the files to the FTP server — that kind of stuff is now, yeah, OK, we’re going to do that. Whereas the first time around I was like, what? We’re doing what? What are you talking about?
贴上英文版
I guess I should ask you about the actual movie. How done is it?
It’s pretty done. It has to be done. It has to come out on November 20. Which means we sort of have to hand it over October 30. Which means the picture has to lock August 30. And so in a few weeks it’ll be locked, the visual effects are in good shape, all the R&D on the more complicated, more ephemeral effects is being completed.
How weird was it, stepping into somebody else’s franchise?
It was a bit odd at first. But then again it’s pretty amazing to have a huge fan base just dropped into your lap. And it was a pleasure to be able to deliver faithfully on a book. With Golden Compass I felt that by being faithful to the book I was working at odds with the studio. But Summit understands that it’s Stephenie Meyer’s world, and really it’s about recreating the experience the reader has, in some kind of faithful manner. Creating a picture that doesn’t violate too badly the picture they have in their minds.
Was there technical stuff that you learned on Golden Compass that was useful here?
There was, yeah. It was really CGI boot camp. That was over 2000 special effects, and each one went through 200 or more iterations of, you know, what the talking ferret was doing at that point. Now to do werewolves and so forth is frankly no biggie. I mean, you still have to get things right, and take care of the process, but the bizarre things that you do — like, now we’re going to go check the DPX files, and oh, we’re going to have a CineSync with Tippett, cause they just uploaded the files to the FTP server — that kind of stuff is now, yeah, OK, we’re going to do that. Whereas the first time around I was like, what? We’re doing what? What are you talking about?
