En contre-partie, Ridefilm pourrait profiter de la renommée mondiale de Imax. Aussi nous avons décidé de fusionner. Il y a moins d'un an, Ridefilm Corporation est devenue filiale de Imax et aujourd'hui, je cumule les fonctions de Vice-président de Imax, dont le siège est à Toronto au Canada, avec celles de Président de Ridefilm Corporation, toujours basée dans les Berkshire Hills du Massachusetts. Luxor a été une grande expérience, car c'est à lui seul un petit parc à thème.
L'idée repose plus sur celle d'un film à scénario et se distingue donc de ce qu'on à l'habitude de voir dans les rides "classiques" comme les virées en grand huit, les vols-poursuites dans l'espace, etc.
Dans LuxorJ'ai voulu introduire des personnages, une action et une histoire à l'intérieur d'un environnement "hi-tech". JS : Comment ce nouveau genre de cinéma est-il ressenti? DT : Tout d'abord, c'est un vrai succès commercial. Il y a déjà dans l'Hôtel Luxor un espace de jeux d'arcades Sega qui ne désemplit pas.
JS : Pour Luxorvous avez utilisé, semble-t-il pour la première fois, des images de synthèse. Vous aviez pourtant la réputation d'être DT : Réfractaire, c'est exact. J'ai vu, à l'époque, tellement régime hyperprotéiné kot avis compagnies de Los Angeles se ruiner pour avoir payé du matériel beaucoup trop cher et passé trop de temps à écrire des logiciels.
Cela n'avait, à mon avis, aucun sens d'avoir un ordinateur à plusieurs millions de dollars pour faire des clips plublicitaires à la TV ou d'autres choses du même genre. Mais lorsque sont apparus Silicon Graphics, avec ses stations à des prix sensiblement raisonnables, et des logiciels comme Alias, Wavefront et Softimage, alors l'image de synthèse est devenue un vrai domaine d'activité, comme on l'a constaté.
Je voulais travailler de façon très rapprochée avec un spécialiste en images de synthèse et recherchais la personne la mieux habilitée pour collaborer sur ce projet. Jeff Kleiser qui a approuvé le projet tel que je lui ai soumis a donc pris la décision de transporter la totalité de son studio basé à Hollywood, Californie jusque dans le Massachusetts, si bien que nous étions côte à côte dans le même bâtiment pendant toute la production.
Simulator ride films
JS : Comment s'est fait le choix et l'articulation entre les techniques infographiques et les prises de vue réelle? DT : Nous avons procédé par tests. Cependant, il y a certaines parties où il est préférable de continuer à employer des maquettes, par exemple lorsque la caméra se déplace à l'intérieur d'environnements extrêmement compliqués. En infographie, le facteur limitant est le temps de rendu des images qui peut atteindre quelquefois plusieurs heures.
Ainsi pour les séquences les plus détaillées, nous n'aurions pas pu produire plus de huit images par jour, ce qui aurait été beaucoup trop lent.
JS : Mais fabriquer et mettre en place des maquettes, cela prend aussi beaucoup de temps? DT : C'est exact, c'est pourquoi nous n'avons privilégié cette voie que lorsque nous estimions que cela serait beaucoup plus long par ordinateur. Et je pense que nous avons fait les bons choix et l'ensemble a été mixé parfaitement puisque nous pouvions utiliser les mêmes bases de données.
JS : Depuis la fusion de Ridefilms avec Imax, quels sont vos projets? DT : Nous avons dû tout d'abord travailler sur toute l'ingéniérie des systèmes hydrauliques, des sièges, des écrans, etc. Nous avons par ailleurs en contrat six films sur la période que nous pourrons aussitôt proposer à la clientèle des simulateurs Ridefilm.
J'ai également organisé les choses pour que le studio accroisse son volume de production en le mettant à la disposition d'autres professionnels. Ainsi, trois longs métrages y étaient en cours de réalisation en par la société Synergy Productions. C'est la première fois que le "Massachusetts" est à tel point impliqué dans la production de films long métrages d'importance. JS def obesite oms yoga Et la réalité virtuelle, vous y songez aussi?
Je travaille sur un concept, qu'on pourrait appeler "réalité virtuelle sociale". C'est juste un projet en cours de développement, mais chez Imax cela fait partie de ce qu'il sera possible d'offrir dans la palette des attractions, notamment dans le cadre de "centres de divertissement intégrés".
JS : Serez-vous conduit à utiliser bientôt la vidéo haute-définition plutôt que la bonne vieille pellicule? DT : Nous avons chez Imax un programme complet de développement sur les écrans larges en vidéo. Parce que nous sentons que le film sera inévitablement remplacé, et que nous voulons être prêts.
Le rendu général des images est de x pixels, soit une résolution deux fois plus élevée que pour le film Jurassic Park de Spielberg. En outre, la séquence des danseurs en 3D du deuxième film, principalement réalisée par Kleiser-Walczak, est projetée en mode stéréo, et des lunettes sont distribuées au public. L'ensemble a été monté en mode virtuel avec le système Avid. Le tournage est à base de caméra contrôlée par ordinateur ou "motion control" évoluant à l'intérieur de maquettes, technique favorite de D.
Trumbull pour les rides. La projection du film se fait sur un écran Omnimax, et le public est réparti par groupes de six dans des nacelles en forme de voitures montées sur verrins hydrauliques. Inaugurée à Orlando en Floride, la même attraction est aujourd'hui repliquée à Universal Studios Hollywood, en Californie.
Les "rides" étaient jusqu'à présent la chasse gardée des deux sociétés californiennes Iwerks et Showscan et du Britannique Rediffusion Simulation rachetée en janvier par Thomson. This is Douglas Trumbull, so you'll know my voice. Do you want me to sort of give a little history all the way back to the beginning? Maybe when you start with John Whitney or before I don't know.
In Los Angeles. I was born in And I went to a Junior College in Los Angeles for one year studying architecture but in the process of studying architecture, I took many art courses and I became an illustrator right away.
I stopped school and started working as an illustrator. I took my portfolio around to studios trying to find work and I ended up at in small company called Graphic Films in Los Angeles.
That was probably in and Graphic Films was working on some very unusual simulation films. Animated films. Simulating the Apollo 11 Landing on the moon. Right, it was all cell animation. But it was sort of semi-photo realistic. And they also got a contract for a film for the New York World's Fair, that opened in Sort of like Omni-Max.
It was a film process that was called Cinerama It was the only time that was ever used. And I did a lot of the animated background paintings and illustrations and stars and planets and galaxies, miniature organic material, DNA.
It was sort of a "big bang" movie. So that was shown at the New York World's Fair and Stanley Kubric was living in New York at the time and saw the film and subsequently hired Graphic Films to do some preliminary conceptual designs forand I was one of the artists working on the conceptual design of And then Kubric moved to London to produce the film and didn't continue the contract with Graphic Films because it was just too distant.
I called him up and said, well, can I come and work on the Movie in London. I'll be happy to go. I was 23 years old. And that was where I got my training. And it just turned out that I was, I had some unusual blend of skills as an artist and as a technician. For me working on that movie was just a dream come true, so I got a chance to contribute to many different aspects of that movie. I started out just doing animation, doing all of cosmetic botox on face read-outs from the Hal computer.
Scary films best ever
And then I got involved in miniatures. And then we were nearing, you know, the complicated parts for the end of the film.
The star gate. And the production designer on the film, Tony Masters, and other people who were working on the film were trying to figure out what to do. And they were spinning mirrors and lights and smoke and they weren't coming up with anything that worked.
And my friend Con Pederson, who was also one of the effects supervisors on the movie had recently been to Los Angeles and was talking to John Whitney and came back and sort of verbally explained to me what John was doing with these moving slits renforcer les cheveux krefel belgique leaving the camera shutter open and creating multiple exposures in the camera of a sort of accumulated light on the film, and I thought this was No It's regular since the exposure of the movie, of frame by frame, must be regularly exposed by the process.
Yeah, it was geometric and as far as I understood, what he was doing was scanning images across the film frame and creating distortions and moving slits and things. And I had never seen those films, I just knew, I got the idea and This proceeding he used with the Vertigo title? You remember the sequence, That was just like a pendulum of light creating it.
That was just a two dimensional film exposure. But I thought this idea that John Whitney was doing was very interesting.
Everything we shot, we shot polaroids first, to test. And I built a little slit and cranked a piece of artwork through the slit while the polaroid camera moved dimensionally toward the slit to create a dimensional streak rather than a flat streak. So I was trying to take what I thought John Whitney had done two dimensionally and made it three dimensional. That was my idea.
Well, the slit was just a very narrow opening lit from behind and then I had a piece of artwork with colors; the slit was very narrow and the artwork would slide behind the slit.
And then the camera would move in and out, so that the slit would become an exposure in space. And I could focus on it automatically. I'll build a focus control device to focus. I just did my first tests with a polaroid camera to show that we could create this dimensional corridor of light and I took a little polaroid down to Stanley Kubric and I said, "I think this would be the solution to this problem. It was a big sheet of glass with artwork and the slit was about a, very very tiny slit like that, about 8 feet long, and the camera on a 30 foot track.
So I got help from the Engineering Department at MGM to help me build these things and order special berrings and motors and clutches, differentials, and I figured out how to bolt it all together and make the camera work and designed all of the control systems for it which were based on a series of timers and clocks and motor reversing switches and That was a completely analogic system?
There were no digital No No. It was all completely mechanical. It was about as complicated as a washing machine.
Yes, I suppose it was like a clock. Very very, the motion must be very regular very I just had little motors that would do incremental motions connected to a darkroom timer. I would just set the dark room timer for 5 sec. And it was quite simple and it had a little box maybe this big with some relays to turn lights on and off and reverse the motors and sequence the camera shutter, things like that.
And it worked quite well. That was followed by nine months of photography because it took about a minute to make a frame of film for very long exposures and I don't know. I never timed it out. Something like that.
It was very different drawing. I remember. It was a very hot spot sequence. It had nothing to do with the conventions of the cinema. It was a totally different experience. And I thought, "This is very very interesting and this is were I would like to go in my career.
And afterI remember you did a movie, Silent Running. I saw it. When was it ,insomething like that? Pretty much. I wrote most of it, yeah. Several other writers contributed to it. Mike Cimino worked on the script.
We all worked on it together. And then I rewrote the whole thing. I don't have screen credit on the whole movie, but I actually wrote most of it. Very simple models. And front projection. It's called front projection, but it's a 3M retro-reflective material, you know billions of little beads of glass that bounce light back to the camera. And I used that a lot on Silent Running. The whole movie was shot in 32 days.
Which is an extremely short period of time for a feature these days. And it included a lot of effects and cost just a little over 1 million dollars. It was just my first film, and it was just a really nice experience.
But it wasn't this kind of spectacular 70 mm immersive experience like It was a small dramatic film. How did you move as a special effect director to a creator of a new technology of cinematographe. Well, it's sort of a I don't know how to describe it except some people in Dymchurch rides 2014 call it "development hell.
It's when you're And I had development deals to write scripts and develop feature projects at every studio. You know I thought, "This is great. My career is taking off. I'm going to be a big success. Well, here's what happened, see, after Silent RunningI was going to direct several films that I was developping at the studios. Every one of these projects ended badly and didn't get produced for all kinds of crazy reasons. And we were just about ready to shoot and then he died.
And so the whole project went into his estate and got tied up by attorneys, and we couldn't make the movie. And then I had a project at MGM which was a wild, futuristic adventure and then Kirk Cucorian decided to build a casino in Los Vegas and closed the studio. So I was there trying to make a movie when MGM decided to go out of the movie business. So that movie didn't get made. Then I had a movie about a futuristic theme park ride at Warner Brothers, and then suddenly all of the management of Warner Brothers changed and they cancelled my project because the new guy didn't want to do the old guy's project, you know, it was the standard Hollywood story.
And that's why they call it development hell, cause this happens to many film makers in Hollywood. Cause you can't make a living not making movies. Cause you don't get paid very much during the development phase. You just get a little trickle of money. So I wasn't making a living, and I thought well, you know, I don't feel like I'm doing anything wrong. It's just that all these events that are happening that I can't control. Just trying to make some money, I made a proposal to Paramount pictures that, I said, "I think that there may be some interesting ways to improve the medium itself", because I have a technical side, that's not just my film-making side, I have ideas about cameras, and projectors, and images and technology because I'm familiar with that.
So Paramount thought that this was an interesting idea. And we started a research company at Paramount called Future General Corporation. And the specific plan for the company was to take some investment money from Paramount and do some experiments.
It was about About three years after Silent Running. And I started doing a series of film tests of every film process anybody had ever thought of up to that time. You know D and TODAO and VistaVision and Technorama and Panavision and Super Panavision and 3D and we rented all of these old cameras and built screens and shot tests and tried exploring what was the history of the cinematic formats.
And I thought none of them were very interesting, that there was something missing, it wasn't anything that was worth really going out of your way for. And it wasn't until I had tried all of these formats that I realised that the one thing that we had not tried and that no-one else had tried was to dramatically change the frame rate.
So we did a little experiment just in 16 mm film of shooting at 24, 36, 48, 60, and 72 frames per sec and then projecting the film. And that was when we first noticed that increasing the frame rate a lot made a big difference. The technique existed but only for creating special effects. Because at the projection the frame rate is the same, 24 frames per second.
But never used at the frame projection. Well, what I found out was that there are high-speed cameras for slow motion photography. That was OK. And then I found out that this was done by putting a special modification into the Geneva mechanism of the projector so obésité infantile au nouveau-brunswick it would pull the film down during every shutter closure rather than every other shutter closure so you could double the frame rate.
It's a very interesting phenomena in film that you can double the botox spritze achsel rate without increasing the speed. It seems crazy. Well, see, there's two shutters in a projector, but the film is pulled down during only one of the shutter closures.
Its 24 frame film but it's 48 flickers of light. And the flickers of light is what the Lumier brothers discovered many many years ago to get rid of the flickers. And you remember the movies used to be called the "flicks", cause they flickered badly, until the Lumier brothers figured this out. The Lumier brothers invented the double bladed shutter so everybody was able to reduce the film consumption you know to a 24 frame, it was actually a 16 frames in the early days - the silent movies.
In the 16 frame projectors, they had a triple-bladed shutter. So, it would only be 1 frame but it would be click click click, new frame, click click click, you know.
So by putting a second pin in the Geneva movements, so that the film would be pulled down in the gate. Just like the city, the Swiss city.
It's a clever device for pulling the film quickly and holding it and then pulling the film quickly and holding it. It's been used in every projector throughout the history of the cinema. And there's a very simple way to modify the Geneva so that it pulls down more often gommage éclaircissant visage every time the shutter closes. Then you just change the belts and make it go a little faster and it'll go 60 or 72 or whatever.
And it was very spectacular. Then I did a test I gave it that name at the time. And then I did a film test. And then I rigged projectors to show the films at those frame rates, and then we set up a laboratory test in a psychological laboratory at a university in California and showed these films to one person at a time, connecting the person to an electroencephalogram with you know brane wave sensors, an electromyogram, which is a muscle sensor to see if they are moving, and heart rate, and respiration, and galvanic skin response, which is like a lie detector test.
And we took very detailed graphs of people's response to the movies. And we just proved immediately that as you increase the frame rate, human physiological involvement in the film increases dramatically. It's automatic. It just goes, fhhhhew!
There was no point in going to There was no further gain.
So that became the Showscan process. At the same time, I also built a simulator capsule. I built a little theater, 12 seats with a movie screen and a projector mounted on it and the whole thing was mounted on hydraulic rams. Built at the same time as show scan. These were side by side in the same building. No, we actually built a special one. Flight simulators were too expensive, and we had come up with a simpler less expensive way to do the hydraulics. And I also at the same time built an interactive video game with quadraphonic sound and a joy-stick control and a way to take an adventure through a haunted castle, in I had a little tiny camera that moved through a model.
The whole system was It was all in real-time, but it was designed to be converted to interactive laster disk. That was our plan. Because laser disc was just being invented at the time.
So, I had these three new inventions, and I was making a living. And I showed these inventions to the management of Paramount. Just at the time I got them finished, the management of Paramount changed, and so new management came in.
They looked at what I had and they said, "There's no future in any of this. This is no business. We're not interested.
We don't want to spend money on it. You're wasting your time. In ' So Paramount didn't want to put any more money into it and didn't want to develop it, and then Steven Spielberg called and asked if I would I got called by George Lucas who wanted to do Star Wars. And I said, "No I'm tired of space movies" and I wanted to do my Showscan thing but when Showscan and the Simulator ride was stopped, Steven Spielberg called and said, "Well, would you be interested in doing the special effects for Close Encounters?
Different kind of space film. And even though I considered myself to be a director, I'd like to work for this guy. It was a very good decision. I had a really good time working on Close Encounters. And then I said the deal is that in order to do Close EncountersI'm going to have to set up some special 70 mm film equipment because we're really going to do really high quality effects in 70 mm.
Buy some cameras. Buy an optical printer. Build some motion control systems. We're going to create a special effects studio for this movie. Technologie électronique Cie. Contactez nous No. QR Code. Paramètre de chaise de simulateur de liposuccion economico de Motion Ride 5D.
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Système de contrôle d'ouverture. Science, éducation, expositions, foires, ouvertures de magasins et autres occasions. Il y a un problème avec la croissance de VR qui est que vous ne pouvez pas expliquer à quelqu'un comment cool VR est. Il y aura une énorme opportunité sur le marché en croissance pour les entreprises de taille moyenne car elles sont beaucoup plus professionnel que la plupart des développeurs indépendants qui font des jeux pour VR maintenant, mais le marché est encore trop petit pour les plus grands développeurs de jeux AAA à entrer.
C'est donc maintenant le moment idéal pour faire un nom dans l'industrie VR. Salle d'exposition bien décorée attend votre expérience. Agrandir l'image. Vente à la une dans. Contacter le Fournisseur.
Détails du produit. Profil de l'entreprise. Description rapide. Point d'origine: Guangdong, China. Équipement de cinéma de simulateur de 9d vr. Capacité d'approvisionnement. Description vidéo.