Chapter 1055: Implicit control

Chapter 1055: Implicit control

Chapter 1055 Implicit Control

In a team on the Land Rover Su, Judy Foster sat next to Eric, with a thick stack of "gravity" on his knees. The filming is coming to an end, and she finally got her wish to put all the Erik hand-painted drawings into the collection.

Looking back from the two helicopters in the air outside the window, Judy looked at Eric, who was wearing a headset to watch a video on the laptop, saying: "Eric, so arrogant, you are not afraid of us tomorrow. Are you onlookers?"

Eric presses the pause button and removes the headset and wonders: "What?"

Judy gently flipped his eyes and repeated what he had just said. "When I was filming a scene of "Time and Space Contact" in New Mexico, Robert was simply overwhelmed to prevent the reporter from taking a photo. Now, North American reporters will definitely be more hungry for the news of "gravity"?"

Since the establishment of the Gravity, in addition to a small amount of official news released by the Firefly Group, the media has hardly received any other information related to the film. Whether it is Eric’s super-rich status at this time or his new work after two consecutive world-level films, it’s enough for North American media to try to find out more about Gravity. The news, unfortunately, most of the film is shot in a security studio, and even the paparazzi reporters can't start even if they want to dig out the news.

At this point, the "Geo-gravity" crew was dispatched, and you can imagine that there will be a large group of reporters coming.

In fact, at this time, the team has been with a lot of media vehicles.

Although it is about to be released, it is still more than a year since the film was released. In order to maintain freshness, it is not suitable for releasing too much news related to movies. Judy has been in the circle for so long, and naturally understands this truth. Just worried.

Eric smiled easily and said: "Don't worry, they can't shoot anything."

Judy's eyes flashed, remembering the destination of the team at this time, and the words that Eric revealed some time ago, suddenly said: "You mean, we are not going to the real shooting scene now?"

“It’s not,” Eric said with a smile. “The back shot of the return cabin falling from space, I hope to use the picture of Lake Pleasant in the north of Phoenix, but the last part of the show, we Filmed in the northern Colorado River."

Eric said, he also blinked at Judy: "Remember to keep secret, there are not many people who know the news now."

"I am the heroine, I told me now," Judy gave Eric a look. He stopped the topic and squinted at the laptop screen on Eric's knee. He was curious: "What are you looking at?" Well, this is Michael Eisner?"

Eric unplugged the headset and restarted the video, and Michael Eisner’s voice came from the laptop.

"... At the same time as the development of special effects software and technology, the light and shadow era will also invest in the development of a new 3 film projection technology. 3 movies have been around for nearly a hundred years, although the related technology has been developing very slowly, but with the movie With the advent of the special effects era, we have reason to believe that 3 movies are likely to become a new trend in the film industry after both sound movies and color films. Whether it is Universal, Warner or Paramount, we are very optimistic about the future of 3 movies... ”

After looking at the second half of the video with Eric, Judy said: "This is, press conference?"

Eric nodded: "The press conference of a film special effects company jointly established by Universal, Warner and Paramount, the era of light and shadow, you just heard."

"Oh, this time, there are opponents in the digital field, and, 3 movies, they have to follow up in the world."

Eric smiled and said: "Maybe, but there is competition to make progress. I have always felt that no matter whether it is a person or a company, there can be no opponents."

Despite this, the so-called ‘light and shadow era’ established by the three companies did not make Eric feel a lot of threats. He knew that this was just another reaction to the re-enactment of the Canadian film company by the firefly system.

This is not because of arrogance, because special effects companies want to develop, they need special effects film projects. Eric can confidently say that the film projects in the other three hands are absolutely unable to support their ambition to compete in the era of light and shadow and digital.

Moreover, under normal circumstances, a movie needs to first propose various special effects requirements, and the special effects company will carry out targeted technology research and development. However, Eric has been urging the digital domain to re-use archives of various special effects technologies that have been developed over the years, and has achieved very good results.

For common g effects, such as storms, explosions, motion capture, large-scale war scenarios, etc., the digital domain already has very mature technical solutions, although in the past few years the digital field has rarely undertaken film projects from companies other than the Firefly system. However, the digital domain is very open to the authorization of these general technical solutions.

Under the influence of this special business strategy in the digital field, Hollywood has mushroomed many small special effects studios in recent years. These small special effects studios or special effects companies do not have too many independent technical research and development departments. Purchase finished product special effects software and related technical solutions to the digital domain.

Compared with setting up a team to spend a few months writing a storm special effects code, it is only tens of thousands of dollars to buy a full-fledged special effects program from the digital field, which is far from cost, time and special effects. More than independent research and development. No matter who you are, you know what choices to make.

On the other hand, the projects that these special effects studios get are basically the seven outsourcing lenses of Hollywood, and most of them are the firefly system itself.

By controlling the direction of project outsourcing, the firefly system can also indirectly influence and even control the development of these small special effects studios, making it a vassal of the digital domain in disguise. These small special effects studios, though sufficiently viable to survive, never pose any threat to the digital realm.

Even in the future, once the special effects industry becomes sluggish, as long as the special effects outsourcing strategy is tightened, these small studios of vassal can be easily sacrificed to help the digital domain resist risks.

As for the other three newly established light and shadow eras, perhaps they will invest a certain amount of money in technology research and development in the early stage. However, when the three found that for most special effects lenses, the independent research and development technology will not only cost much higher than those of small special effects studios, but the cost of human resources after the specific g-picture production is also higher than that of the same industry. It's hard to get extra revenue from selling software and technology solutions like the digital world.

Then, after a few years of support, the top executives of the three companies will gradually give up the full support of the era of light and shadow, and continue to be implicitly controlled in the digital domain in disguise. The era of light and shadow will gradually become a chicken-like existence. After all, even the basic special effects technology cannot be perfected, and the development of more in-depth special effects technology will not be discussed.

In the past, the most advanced special effects technology has always been in the hands of several companies such as Industrial Light and Magic. The best films in Hollywood have always been from these companies.

However, several major special effects giants did not adopt the business strategy in the digital field at this time. Later, the special effects companies that emerged, no matter the size, on the basis of some basic industry special effects software, faced with the differentiated needs of customers, basically need to develop new ones. Technical solutions, and these technologies are likely to have been repeatedly developed and used by other special effects companies many times.

The repeated loss of resources in all aspects not only greatly increases the operating costs of the entire industry, but also does not have any dependency between the small special effects companies and the giants in the digital field. When the winter weather era of special effects industry came, all the special effects companies have become more and more difficult. They can only reduce the cost by continuously moving to the tax-returning areas, and at the same time carry out vicious competition in price, which undoubtedly caused greater damage to the whole industry. a vicious circle.

As for the development of 3 film technology mentioned by Michael Eisner in the video, Eric has generated some vigilance. If there are two completely different 3 play standards in the whole industry in the future, it will be a little bad.

However, these things are not completed overnight, and Eric can only wait and see for a while.

What Judi can think of, the experienced "gravity" production team naturally considers it.

As a result, the team rushed to Phoenix, Arizona, but after entering the city, the crew quickly entered a closed private resort in the north of the city. A large number of reporters who were stopped outside the resort watched the team disappear and could only take a few disappointing photos of the team on the back of the team. As for the long-awaited crew, several core figures are not even seen in the shadows.

From Los Angeles to Phoenix, six and seven hours drive, everyone is very tired, and naturally there is no work today.

After resetting everyone, Eric returned to his place of residence and took a shower out of the bathroom, which was already five o'clock in the afternoon.

The door was knocked and Eric walked over to open the door.

Carolyn saw Eric wearing a bathrobe and his face was red and red: "Eric, Mr. Stewart came back from Lake Powell."

Lake Powell is the location of several post-landing scenes developed by Eric. The lake is on the northern Colorado River, about two hundred kilometers from Phoenix.

As for Lake Pleasant, which is more than ten kilometers north of Phoenix, this is actually a drinking water reservoir in Phoenix. Eric did not choose to shoot a post-landing scene on this lake. On the one hand, it is to sneak up on the idea of ​​the media, on the other hand. In fact, it was also the shooting request of the Phoenix Group that did not approve the "gravity" due to environmental protection considerations.

As the producer of Gravity, William Stewart rushed to Lake Powell to explore the filming site three days ago to ensure the smooth shooting in the next few days.

"It’s almost dinner time, let William go to the restaurant, I’ll wait,” Eric nodded, looking at Caroline’s shy little look and laughing: “You come together too.”

"Well, then I will inform Mr. Stewart," Caroline replied, and hurriedly walked away with his small head.

The presence of the "Gravity" crew not only attracted media reporters from all over North America, but even many local TV stations in Arizona made a special report on this matter.

Therefore, with the attention of countless pairs of eyes, the movement of the entire crew can not be hidden. However, the "gravity" crew did not seem to hide the meaning of this incident. After the night of the renovation, the next day, the crew of the crew left the resort with great fanfare and rushed to the shores of Lake Pleasant.

Although they were stopped outside the station where the crew was stationed, in the wild, the reporters finally got the image of Eric, Judy and other masters.

However, when the majority of the time passed, many people found that in addition to the conspicuous h-60 helicopters on the field, sometimes they even flew above the altitude of more than a kilometer, they did not get much content with the film. relevant information.

Of course, it’s not nothing. At least, Eric Williams and the crew’s photographer, Nikkel Frank, boarded the helicopter and seemed to be shooting high-altitude overhead shots through the camera, just these simple aerial scenes. It simply makes people have no practical and useful associations with the content of the film.

Fortunately, the reporters are not impatient. Since the entire crew of Gravity has come over, it is absolutely impossible for these people to just shoot a few simple aerial shots. Otherwise, Eric Williams There is no need to appear here at all. Obviously, there will definitely be specific content shots in the next few days.

In the expectation of everyone, the early morning of the next day, the sky was just lit up, and the reporters bought the inside of the resort staff to send news, so they started to cheer.

However, when they saw two helicopters taking off from the resort and passing through Lake Pleasant, they did not mean to land. They still swept to the northern mountains at a speed of more than 200 kilometers. Everyone was dumbfounded.

Although some reporters are not willing to get on the bus and want to catch up, everyone knows how the car wheels can catch up with the helicopter, not to mention the helicopters can fly in the mountains, but the car needs to walk.

Fortunately, one of the tent-sized objects hanging under one of the helicopters gave some comfort to these people. The well-informed reporters quickly found out after taking the photos. It should be a spacecraft return capsule. .