The New Year holiday in the United States is very long, connecting the two holidays of Christmas and New Year's Day, usually at least 2 weeks, from December 20 to January 5. In addition, there are many people in the United States that concentrate the annual holidays on this period, especially those who plan to travel. They usually leave the office from early December to enjoy this long holiday.

But Jing Jian didn't have such a good life. Don't forget that he came to the United States this time to work and to complete the filming of "Infinite Shiver 3". Although he had been "not doing his job" in Europe, his job always needs to be completed, right?

So on the third day of the New Year, Jing Jian led the crew's main creators and representatives of Industrial Light and Magic to the editing room of Paramount and started the rough cutting of the film. The rough cutting work this time is quite large because many special effects shots will be placed in the film.

"This section is put here, and the effect is better with montage lenses..."

"This paragraph is over, let's go over and put it again..."

"Cut it? Cut it! Alas, I really can't bear to..."

“…”

I was busy until after 8 o'clock in the evening, and even had sandwiches for lunch and dinner. The burger was dealt with, and finally completed the rough cut that lasted more than five hours long.

Drinking hot coffee, the editing room was filled with laughter. Judging from the rough cut results, it has exceeded the original expected shooting effect, especially the special effects produced by Industrial Light and Magic, which far exceed the level of the films of the same period. It is completely worthy of the adjectives such as "super era and shocking".

However, in a relaxed atmosphere, assistant director Paliojin suddenly realized that Jing Jian was still frowning slightly and watching the video clips repeatedly. Paliojin was a little surprised: "Bramble, is there anything else that is not satisfied with?"

Paliojin's words immediately attracted everyone's attention, and they all noticed Jing Jian's abnormality. However, when it was roughly cut just now, even during the filming of the film, Jing Jian was basically determined by Jing Jian's words. So what else is not satisfied with? Are they not satisfied with themselves? Besides, everyone present is basically veterans in the film industry. With their professional perspective, it can be confirmed that the level of this movie has far exceeded "Infinite 1" and "Infinite 2".

In fact, Jing Jian was not dissatisfied with such vertical comparison, but was dissatisfied with horizontal comparison. Indeed, the rough cut result exceeded the level of similar movies of the same period, but there was an unattainable peak in front of him - "Terminator 2"

As a milestone in the history of movie special effects, Jing Jian very well understands how shocking the effect "Terminator 2" will bring, and it is simply a crushing momentum to sweep the world. To be honest, the special effects of "Infinity 3" are indeed first-class, but compared with "Terminator 2", they are far behind the top.

After a little thought, Jing Jian made up his mind: "I think there are a few special effects that need to be improved."

"Ah?" After exclaiming in unison, Ferranda, the chief technical officer of Industrial Light and Magic, was puzzled. "Mr. Branpur, we have produced special effects as you ask for, and have completely achieved the effect you require. In addition, this is the highest level that can be reached at present. What else are you not satisfied with?"

Jing Jian was not dissatisfied with the current special effects, but needed more shocking special effects, that is, special effects comparable to "Terminator 2". So he thought of another milestone in the history of special effects - the bullet time in "The Matrix".

However, "The Matrix" appeared in 1999, and now it is 1990. The rapid development of digital technology can be said to be completely different eras. Although Jing Jian's idea is good, it may not be able to support it in technology. So after thinking about it for a few seconds, Jing Jian was preparing to discuss it with Industrial Light and Magic technicians and Professor Sager Photography.

"I think this is the case, the main plot and main picture structure are not changed. But in these shots, I hope..."

“This is impossible.”

"I think there is a possibility of realization, but it is just possible and there is no guarantee of the effect you mentioned. You can do this..."

"It's a way, you can try it."

"No, what you said is too risky."

"It's not particularly risky. Listen to me..."

“…”

What surprised Jing Jian was that as the group of technical guys deepened the discussion, he found that the bullet time was really possible. Jing Jian's hope was not very big, and he just made a request. Unexpectedly, the group of technical guys were quite capable, which made the hope bigger and bigger.

In fact, this is not a coincidence, because any technology will never come out of thin air, and there will always be a process of gradual development and maturity. The so-called bullet time refers to photography techniques that simulate various variable speed effects in movies, such as strengthening slow motion or time static effects. It can enable the audience to see some scenes that cannot be seen normally. There are two main manifestations, namely extreme changes in time and extreme changes in space, such as bullets flying over the head (hence the name), or the viewing angle rotates around the scene while the slow motion appears.

Therefore, it can be said that bullet time is a general photography technology, with diverse expressions, which is the history of previous lives. Before the release of "The Matrix", many directors used it, but the research was not thorough enough and the computer digital technology was not mature. For example, the violent aesthetic slow motion that often appears in John Woo's movies is also a variant of bullet time.

In the history of previous lives, there are roughly three ways to achieve the effect of bullet time:

First, the camera array is the legendary "positioning photo".

"The Matrix" uses this trick. 120 digital cameras surround the subject, and then the shutters of these cameras are taken in the pre-programmed order and time intervals. Then, all the photos taken at each angle are scanned into the computer, and the computer virtually repairs the differences between two adjacent photos. This way, the coherent and smooth movements of the subjects under a 360-degree lens. Finally, the computer merges the coherent dynamic images with the background, forming a surprisingly novel lens that we see in the movie.

There is no doubt that this trick didn't work at all in 1988. It was both computer technology and digital camera. At that time, there was no intelligent film camera. Where did the digital camera come from? Moreover, without supporting computer technology to build virtual scenes, the movie lenses were all cameras from other angles, so the tricks were even more worn to break through the sky.

So definitely not!

Second, full CG simulation. Not to mention, computer chip technology has not developed to this level, and it is also a mess!
Chapter completed!