After a brief rest and adjustment, Duke Xun moved into the post-production of the Dark Knight Rises. As in the past, he still chose Warner Production Factory as the base camp for post-production.

The special effects team involved in the production also comes from Industrial Light and Magic and its many partners and subordinate contractors. The special effects director of the team has produced all Batman movies and Inception with Duke. Under his leadership, the team has produced many visual effects and animation shots, and the shocking scenes have also been recognized by Duke.

According to Duke's plan, this video will last at least two and a half hours, and the computer's special effects visual effects camera will be over, and some of them will even be dazzling.

In terms of quantity, the production of these special effects shots is necessary for level hero movies.

This also fully reflects the production method and production philosophy of director Duke, that is, to use special effects as much as possible to produce. Many of the actual shots need to be processed by computer special effects. The advantage of this is to make the presentation of the film as huge and impactful as possible.

Moreover, those real-life shots will also provide sufficient data foundation for the production of special-effect shots. This approach can create a high-level reality, that is, the visual effect picture can match the high picture quality of the real-life image and be closer to the film state Duke wants.

As early as the beginning of the preliminary preparations, the team devoted a lot of time to file production, surveying terrain, scanning crew members, accurately recording on-site lighting, etc. In order to achieve better results, the team also specially opened a key tool for this movie, which is a ray tracing rendering system that can work under existing pipelines and lighting settings.

This system can accurately calculate the energy exchange between different surfaces and create real lighting effects for different surfaces. This process requires strong computer capabilities to perform calculations, and the effect produced using this technology will be quite perfect because it makes some objects, such as Batmobile and Batman motorcycles, look an inherent sense of reality and can be easily adjusted.

It is worth mentioning that when making the effect of this new toolbox, there is no need to give precise grading instructions, such as making the surface look brighter, canceling the brightening area, contrasting effect, etc. Now you only need to adjust the light and darkness, and the effect can also meet the requirements of the lens. This not only simplifies the operation steps, but also makes post-production work more efficient.

The visual effects of the Dark Knight Rises are divided into several important pieces. The selected and delivered to Duke is the initial aerial hijacking shot. In this scene, the actor jumped from a 1-aircraft high to another ia jet, broke into the cabin, escaped with a prisoner and destroyed the jet's wings, and then the fuselage suddenly split into two.

This lens has produced high-precision samples in advance, including how special effects are displayed, etc. The fine samples can facilitate Duke to study how to deal with stunt performances and real-life shots, as well as what special effects need to be produced to match this lens.

The final effect is also a mixture of multiple production methods, miniature models and special effects, creating a scene of the plane wing break and green screen cutout replacement. In combination with the real aircraft model and two actors who shot the scene, the G animation of the skydiving was added to complete the implementation of this difficult shot.

Another clip is the explosion effect of the football field. Bain, the destructionist in the film, detonated explosives in the football field, creating a scene of the collapse of the field. In order to create a realistic live effect, the team used visual preview to plan the scene shooting. In this scene, the stunt actors had to fall from the crack of the platform above the field. In order to match the effect, the team used g animation to create some additional actors, and the entire sports field was also made by bsp; the difficulty of this shot is that the entire venue is physical. The team needs to have a high level of production ability to control the reality of these simulation effects and synchronize these physical effects with the actor's movements. In this shot, the crowd was also expanded, and some shots on the court were created based on about 20,000 people sitting in the stands to watch the game.

Just like most visual effects movies, g is usually used on digital substitutes for the main actors, and the Dark Knight Rises is no exception.

Digital replacement mainly includes Batman and Catwoman. When the character is driving a vehicle in the picture, many shots actually use digital keyframe animation. Digital stand-ins are not just characters, but some motorcycles can also be used. For example, in the shot taken by Duke, there is a scene that requires the bat motorcycle to climb a slope and use the slope as a springboard to escape the trap.

The biggest difficulty with this lens is that since the bat motorcycle is not a lightweight motorcycle, it is not easy to make it jump off the slope and look very difficult. When the lenses were made, a real stunt motorcycle was used to shoot the stunt performance. Then the visual effects team gradually replaced it with a digital bat motorcycle, and then adjusted it to the physical effect of the real motorcycle when it jumped.

As Duke said, movies are often an art of deceiving the audience.

Through special effects production, Duke hopes that the Dark Knight Rises can present an extremely realistic and exquisite picture texture. The cold and proud colors combined with fine composition like industrial design give a new possibility to build a bridge between the exaggerated comic style and traditional noir films.

IMA technology is an important foundation for achieving these.

There is no doubt that the ima lens obtained by Duke during shooting is unprecedented. About 50% of the lenses were shot using large high-definition frames. The data required by the ima large frame is about 20 times that of an ordinary 2k image. The operation of these data alone is a huge logical task. From a creative point of view, most people cannot really see what ima does, because there is no image device that can support this digital screen.

What visual effects engineers can see is an agent image or part of the image. The only way to see the overall image is to output it to the ima. The output process also takes several days and can only be completed within the Los Angeles branch of the ima company. The first person who finally sees the film production effect is not the producer, but the director Duke.

So the entire film is a huge challenge to the team, both in creation and production.

But, just like not being afraid of competition, Duke and his team are never afraid of any challenges.

Before the special effects work was completed, Duke temporarily handed over the editing work to Mike Dawson. In addition to busy special effects production with the special effects team, he also frequently met with Hans Jimo to discuss the soundtrack.

Due to the tight time, the Dark Knights Rises missed the Class Bowl ad in early February. Although the Los Angeles Raiders achieved three consecutive championships, Duke did not have the time to pay too much attention to his team.

In early March, Hans Jimo submitted some first editions of the soundtrack to Duke.

In the end of this trilogy, Hans Jimo summed up the theme soundtracks of the first two parts, and then the current first edition came.

In the recording studio, the passionate music ended, and when Duke put down his headphones, Hans Jimo explained in detail, "We chose a completely different soundtrack direction for Bain. I want to use the symphony orchestra to endorse the characters' thinking and emotions. I explained to the performers, letting them put aside everything they know and be the most original group of drummers."

Speaking of this, Hans Jimo laughed, "The result is very ideal. Everyone feels very liberated, like a music adventure."

Duke also nodded slightly. Although it was the first edition and some parts need to be improved, it already had the effect he wanted.

In addition to the soundtrack, Hans Jimo also specially choreeded Bain.

Taking advantage of this opportunity, Warner Bros.'s publicity department specially asked Hans Jimo to interact with the majority of Batman fans to allow fans to participate in the production of the film's original soundtrack and create topics of publicity and hype.

Fans can transmit their singing passages through ujam, a website that specializes in uploading composition, music production and music publishing.

Tens of thousands of netizens around the world responded to this event. After the audio files received were synchronized, they made a strong chant and were arranged into the video by Duke.

Hans Jimo said in an interview: "I suggested to Duke that this is a channel for fans and movie fans to actually participate. We had some concerns at first, but the final result was amazing."

"I have never worked with someone who is so persistent in a certain idea and is desperate, and this idea is almost a desperate bet. But the most dangerous places are often risky.

Later, Duke also expressed some views on this matter in an interview, "Hans taught me that you can find the truth even when you go to the wrong door. If you don't go to these wrong doors, you may never be able to make amazing performances. He can set new goals for every movie, and every time it makes you feel unattainable, or even completely impossible to achieve."

Just like the characters in the film, the music arranged for Selena Kyle is "ambiguous and magnanimous, which is much more interesting than a straightforward judgment of a person's better or worse. The film produced by Duke has a considerable part of the gray blurry area, and Hans Jimo just used this blurry to express it in music.

The movement that connects each of the trilogy with a musical rope is Hans Jimo's specially crafted for Bruce Wayne.

The theme of the Batman soundtrack is the simplest and clearest, and the theme of the two identities is almost never changed.

When I was busy until April, the post-production of the film had reached its end, and it was getting closer to the release date in May, so the publicity offensive naturally became more and more fierce. (To be continued.)
Chapter completed!