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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献给了 NIKONG D40X, my flesh and blood is gone

好久没有写blog了, 感觉有很多话想说,可到了手边又不知道该从哪里写起了, 因为这个月穷没钱打车,才觉得公车很TMD的挤,上班老迟到,扣掉一千块,NB的事一箩箩的,还都想分析一下,变的感觉很J歪. 总之 先从今天买的相机说起把:
购买日期:2007.4.30 14:00
购买地点:五棵松(很不明白北京的名字都是怎么取的,尤其是我一直惊异的奶子房)

具体参数我就不贴了, NIKON D40X, 网上大家都能查到,总之是个不错的上手DSLR
套机购入价:5500
Kenko偏正:160
乐摄宝R110:190
Kingston 2G 50X:210
(单位RMB)
也不知道有多少是被JS给A了,但至少还在预算范围内了
回来的路上一直在试,总体感觉很不错类.


焦距:28mm f4.5 1/2 ISO800


焦距:90mm f4.5 1 ISO1600 (长焦头 手还是抖了)


焦距:18mm f4.5 0.77 ISO800


焦距:18mm f4.5 0.77 ISO800


焦距:55mm f5.6 1/100 ISO100


焦距:55mm f5.6 1/40 ISO100


焦距:55mm f5.6 1/60 ISO100


焦距:55mm f5.6 1/13 ISO100


焦距:190mm f4.8 1/4 ISO1600 (with my micro len)


焦距:55mm f5.6 0.77 ISO800

焦距:55mm f5.6 1/60 ISO100

焦距:55mm f5.6 1/100 ISO400

焦距:55mm f5.6 1/2 ISO400

焦距:190mm f4.8 1/4 ISO1600 (wiht my micro len )

因为回家都比较完,所以所有照片照度都不够,有很多都使用了较慢的快门速度或大感光度,所以损失了一大部分质量

本身重量句不大的机身携带也很方便.

就是不明白小的乐摄宝居然比大的还贵

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My work before Chinese new year . Part.02

and this is the logo i designed for my friend's music studio in Hangzhou, its name is Minus 7

i found a music note like 7 combining C of centigrade, and the note has one colon , two black circle on the up right, and the third colored circle meas Centigrade's circle for short. and the

minus: - the text on the left

it is simple, not colorful, but i like it.

make it in Illustrator with 10H, and the idea took 2 days

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My work before Chinese new year

this is the work i did before Chinese new year for China Life Insurance Company Limited(中国人寿) though they did not use it , i still put them here, to show what i did and failed












this is the first promotion i did for the opening, the building is the campany tower, and the text will show on the last BG but significantly and obviously it's not suit for the company culture of CLICL, so is denied




and then the opening was adjusted, here i just put up the BG design for the whole one




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Skiing, cloud seeing and wind touching

Skiing, cloud seeing and wind touching

似乎觉得我已经爱上滑雪了,因为新鲜的一次尝试后,觉得这是项能让我完全集中精力的运动,在过程中我不的不全身心的注意自己的平衡,开不了什么小差, 一根经的感受着速度与溅起的雪花所带来的快感, 这也是我从高中以后再也没有了的感觉

因为是初学者,所以摔交再所难免, 我十分享受摔交时带来的乐趣, 尤其是后背着地的那种, 那一刹那,一切都变的很慢, 真的, 犹如高速摄影一般, 感觉到自己慢慢的飞起滑行,接着眼睛缓缓扫视到了天空, 只觉得天很蓝,云在空中飘着,风在耳边吟, 然后落地, 下滑, 为此看见了两片不同的云,爬起身来, 哇哦,感叹一下,欣喜, 这是以前从来没有的感觉, 在无数的电影里看过的分镜头组接起来的蒙太奇,终于自己也有了初次的感受. 尽管后来证明老着么摔是不科学的,现在都没法正常的坐下来.

这一次,从双板换成了单板,摔的出奇的多,果然如传言的,单板要难很多,但却有了更多的操控感, 直接从坡度较大的中级道上滑下对与初学者也不是什么难事,征服感自然不用言表.
但对于单板初学者,有很多需要注意的,这次就因为我没有做好准备而吃了不少苦, 所以这份准备就显大特别的必要了,这里根据自己的经历,为单板初学者提供点建议:

服装:
最重要的东西 总体规则:防水 这是一定必要的,可以不是GORE TEX,但必须是防水 防风的面料, 兼顾一下的话可以选择更为透气的,因为滑的时候由
于消耗很多的体力,出汗是不可避免的,这时如果再有风吹,你的体温会一下下降许多,冷不说,还有很大的可能感冒,所以衣服防风 透气 是你保存体温必
要的选择.防水就不必说了,摔啊摔的,不防水,很快就透了,那你就等着难受死你了,这次就因为雪场的衣服太差,我的屁股整整湿了一天,想死的感觉都有
了.

一般单板的衣服是上下分体的,裤子除了防水外,因该比较宽松,这样便于下蹲,当然也不能太长,上衣除了上述外,最好在里层隔雪兜,不知道这么叫是不是
准确,总之就是一圈把自己的腰围起来 不让雪进去的防水布,因为摔的时候会滑行,十有八九雪会倒灌进你的衣服,所以有那个的话就不怕了

外套内,只要穿一条秋裤,两件厚点的单衣就行了,滑的时候因为运动会很热,只在坐缆车的时候会因为静下来而感觉有点冷,所以穿这么多就够了,外套防
风么,所以体温可以很好的留在衣物内.

帽子:
千万要透气的,否则会有一头汗,到最后我都不带了,主要功能也是为了防风

手套:
千万一定要很防水,因为单板摔的时候都会用手自我保护,不防水的话到最后就只能带着湿漉漉的手套到底了.这次我就被手套强奸了一百遍.
滑下来的时候手套全湿了,都能甩出水来,坐缆车的时候手套又被体温弄干了,滑下来又湿了,到最后都懒的甩水了
手套可以厚一点,摔的时候撑地也就不会感觉那么疼了

护具:
硬制的护膝 护腕 护臀都是必须的, 除了保护你不被摔的太惨外,还可以起到一定的隔水作用,这样即使你的外衣湿透了,也可以保证你的着水部位的
内层比较干爽,幸好这次有人借我了护膝,哈哈,感谢

袜子:
最后带两双去,意思是穿一双,还得带一双准备换,等你脱掉雪鞋就知道为什么要带两双了

雪镜:
最好的装备当然是带偏光的高档雪镜了,但我作为一个初学者的个人感觉,初学者还是带运动太阳镜比较合适,因为在滑的时候,雪镜一般都看不到脚下的
板头,要刻意在滑行中低头看的话,又看不见前方的路线了,而刚开始划由于还没有滑行的感觉,所以看板头的位置对于我平稳滑行很重要,所以太阳镜比
较合适,比雪镜的视野更开阔,可以用余光看见板头. 但如果已经水平较高了,最好还是选择雪镜,比较安全,不怕摔.太阳镜适合初学,也正因为刚开始摔的
不太狠的缘故,所以不必担心会把眼镜摔破扎到眼睛里


准备好了这些,我想大家一定能完的很开心

我最开心的还有就是看见别人摔的奇形怪状,哈哈哈
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一路走好,哥们儿

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终于大家都迈出必须的一步了,还能说什么呢,生活, 希望大家都好.


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