MErry Christmas

有是圣诞节了，祝大家耶诞快乐。
本来这张图是想圣诞前完成的 结果还是没有完成 现在大概是1/2吧 这都圣诞晚上了。
PS work, 30 mins
突然发现拼写错了 算了 一贯性的错误

5月6日 献给The Way Home

去到亲戚家,故意绕道,走回老宅的路,已经记不清楚那里拆了有几年了,依稀的留在记忆中的也只有那一些残埂碎瓦了,小时侯哭笑打闹的地方,如今在我看来,感觉好日系. 5.1 回家 感觉已经大不同于以前了.






老宅小巷的入口外侧,现在弄的很漂亮,原来我记得在停面包车的地方应该有个垃圾箱



巷口,以前左边是人家,右边是个小学,叫天航,也不知道是不是这个航字了




墙内就是小学,可惜墙太高 看不到里面了,弟弟妹妹以前就在这里上的学




继续往箱子里走, 以前这里是废品处理站,还在这里捅过马蜂窝,树都还在,楼没了



巷子在运河边的入口,以前有个菜市,很热闹的地方,最早还有个早餐大食堂,记得很喜欢那里的油条



带我长大的好婆婆家边上的小弄, 以前还是石板地,现在俨然是"文明"了



印象最深的景头了,右边没有字和漆的墙上就应该是老房子的大门位置了





小时,老在这路上打羽毛球和吵架




以前记得好想只有最上边的两层线


正门对面 以前也是个弄堂,已经不记得什么时候变院子了


正门



老房子右转的路,路头是个火车站台


小时侯掉进去过的粪坑好象找不到了,还留下这一排下水沟,这旁边应该是同学家的弄



车轨的喇叭,可烦了,那时觉得



从门缝里看见的老房子和院子的位置,居然长了这么多草,还有小树,奇怪了有没人种





继续往下走








车站口和车站内,以前好像不怎么敢进去,对那里的印象也仅限于门口了



以前这里是车站的篮球场,一直和同学在这里玩,现在都拆换了,后面还立了个大桥,那时连想都没想过的东西,现在看的还颇有气势

亲戚家的楼上望下和楼下,以前应该是同学家的位置

车站里,有看到新干线的感觉

傍晚在楼顶天台上的搜罗,居然有人放起了烟花,正好纪念一下

对与别人,也许这些图片并不代表什么,也没什么意境可追,可对于我,拍摄时的心潮,现在还澎湃在胸,仅有的人生20多年,在这里占去了一半

真挚的感谢带给我幸福生活的所有人^^

Running into Africa

i walked through CGsociety this afternoon, and found a passage called "running into Africa", it is about the VFX supervising of film "Blood Diamond" the one we watched before. it's funning, because my job has a little bit changing into the direction of supervisor, so i summarised it on my blog, wish it can remind me sometimes.

Camera work

Due to the style of the film, the director, Edward Zwick, and Eduardo Serra, the DP, decided the cameras should be hand held, with varying shutter speeds and openings and to work in various burnt out exposures. So tracking the environments into those shots or stabilizing them enough to be able to work with turned out to be one of Okun's biggest technical challenges, and to do anything less would have hurt the telling of the story, taking the immediacy of it away.

The goal in ‘Blood Diamond’ was to put the viewer in the scene, which created a list of challenges. In the battle sequences for example, cameras had to be handheld and shot POV, and the violence that was actually shown was mild compared to what really happened. Okun was under a pretty strict edict to do this. Sorius Somura, the movie’s consultant and one who lived with the RUF and made the documentary film “Cry Freetown” had risked so much to bring the truth to the public, and the crew felt bound to produce a film up to his expectations. “That’s why I felt that I couldn’t limit the camera movement to make my life easier and Ed’s budget a bit smaller. It was always ‘we’re going to do this with an ARRI camera on this guy’s shoulder and he’s going to run really fast. Can you deal with that?’ and I would tell them, ‘Absolutely, no problem’, and then I would turn to VFX producer Tom Boland, and say, ‘boy, I hope we have money in the budget for this.’”

VFX mapping

One of the tricks Okun used, was to replace the LIDAR with a GPS. “Because we couldn’t go in and gather laser measurements to generate a topographical map of our set environment, we had a fellow walk around with this giant GPS pack on his back and we’d reconstruct a topographical map from that. The place where we were shooting was so remote it would be an extraordinary effort to get anybody else there.”

Okun also used a 360-degree lens on a Nikon still camera designed for realtors. “You point it straight up in the air and it gives you a 360-degree view with a 110-degree vertical view,” Okun explains. “You stand where the actor is and you bracket 12 stops, and you get your high dynamic range images as well, and that replaces your silver ball and gray ball pass and allows for two major things. The first major thing is it gives you a view of the set, where everything is, and the second thing is it allows you to recreate the set in true 3D at a later time.”

CG Environments
They started out with only 79 shots but where prepared to handle much more, thanks to Okun’s original breakdown of as many as 450 shots. The producer, Kevin De La Noy, was aware of this, so any time someone came in under budget he would slide some excess funds Okun’s way. The final count was just over 325 shots, and actually came in just under budget.

The biggest CG environment was done by Syd Dutton and Illusion Arts. The challenge was creating the Refugee Camp, which was supposed to depict the second largest refugee camp in all of Africa, with over a million people. The thing is we only had a 100 people when we shot it. In the movie, Jennifer Connelly says, as she’s introducing the camp to Djimon Hounsou and Leonardo diCaprio, saying, “This is what a million people look like.” I did a little still and doctored it up and showed it to them to make sure we were all on the same page. Ed felt, if it didn’t work, that since we were so deep into the story at this point the audience would forgive it. But in the end it worked really well.

During the shoot, when there was nothing on the schedule for Visual FX, Okun would head to the helicopter to gather environmental shots. Staying in touch over cell phones, Okun gained access to places that he normally wouldn’t have been able to reach. There are not really a lot of CG environments in ‘Blood Diamond’, but it’s the use of CG to enhance the environments he shot photographically. Having the helicopters available for 6-8 weeks helped to add a tremendous amount of realism to the film.

Photos
The poverty level in Africa is staggering. “I wound up shooting about 15,000 still photos trying to capture the feel and the look and the smell and the sensory overload in a kids face,” Okun explains. “If you can’t smell it and you can leave at your free will, it’s just not the same as being stuck there with no choice. I could never capture that in the photos, as hard as I tried.”

VFX: visual effects, 视觉特效
Okun: visual effects supervisor of "Blood Diamond", Jeff Okun

RUF: Revolutionary United Front

original page: http://features.cgsociety.org/story_custom.php?story_id=4012

5月2日 献给麻辣的诱惑

被揪去吃最不行的辣味 不过说实话 虽然不行 但还是最想吃的 满头汗的自虐还是抵挡不了唾液的分泌, 毕竟 尚滋味好辛香 是谁都受不住的










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日期有所出入 其实应该是5.1才对 买相机是在4.30
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