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10 de novembro 小脑袋的三片折磨记发这篇的时候还在单位工作呢 08年的11月11日晚上11点11分 还是一光棍节 女朋友也远在陕西拍片。自己在单位天天加班，干完马俪文的活 接着 又是顾长卫的 还没完 又接着《爱情呼叫转移2》 回头又顾长卫 大家又都要赶年底12月的档期 faint！ 怎么从来大家都不计划好呢 档期重 连后期都重了 ps.读chong三声。 也许这也是种计划吧 。 三个片子轮着赶，也许还没到极限，兴许的还有private bussiness， suck！
都是￥￥啊 希望收成能好点吧 只有这少许的安慰了，因为干的活内容实在太没劲了
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maroon 5 真是不错 I like it “1 22 03 Acoustic”
29 de outubro Effects by Trapcode!23 de abril Specific Learning with RED ONE_part_B接下来是稍稍搞清楚一些RED ONE的特别参数和定义
首先是
Mysterium™
red one的传感器,姑且这么叫吧,我忘了翻译成中文是什么称谓了,大家知道这就是red one的sensor,也是业界比较惊奇的单片大传感器.
Basic:
Mysterium™是一个单片1200万像素 24.4mm x 13.7mm Bayer pattern CMOS传感器. 它的实际像素范围4,900 x 2,580 pixels. 每个像素是5.4微米.虽然实际拍摄的像素是4900x 2580,但有效分辨率值应该是4,520 x 2,540,多出的传感器上的部分像素到底的作用是什么没有被公布,但仅知道的是有部分是用来标度black level的.
关于sensor的另一个关注的标度是ASA,似乎是快门感应速度一类的东西,又关系到增益值,似乎是越高的速度往往会带来较大的增益躁点,而越好的sensor越成反比,后者值更小.据说red one测试过16000的速度下的ASA,在8000下都可以得到满意细腻的效果.
It's outrageously fast and clean. You won't be fighting for exposure... this sensor can reach far into the shadows.
But what is actually usable? I can write all day about how great the sensor is, but at some point... everybody wants real numbers. I'll post some of my findings, but ultimately you should do your own testing. To put it bluntly, as of Build 14: 320 ASA: Perfectly noiseless image. This really is home for the sensor. If you see noise, you're doing something wrong. 500 ASA: Noise is visible, but it is very very light and only in the shadows before grading. You can get a 100% clean image from this speed. 640 ASA: The image has some character - noise is visible and may stick around after grading. Few people would have the heart to call it noisy, particularly after downsampling to 2K, but fewer people would call it noiseless. The noise characteristics will be cleaner in daylight than in tungsten. 800 ASA: This is about as far as I like to push the image. There is noise, particularly under tungsten conditions. It's not ugly noise, but it's still there. That said, if what you see on the monitor while shooting is "proper exposure" [meaning you don't push the exposure further in post], then it's still an acceptable image. 1,000 ASA: I don't like it as much. That said, I've compared a 4K RED image at 1,000 ASA to Kodak 5218 pushed one stop to 1,000 ASA and they are still very comparable. But personally? I don't like being here. Beyond 1,000 ASA: I wouldn't put it on my reel. 似乎是同一曝光值下的快门速度下的成像. 但我关心的不在前期的操作上,所以不做具体的研究,有兴趣的可以自己去查阅下. Dynamic Range:
首先我们要解释的是Dynamic Range和bit depth有关,简单的说一级的光(1 stop of light)产生1bit的量值对应6db的dynamic range.一般规律而言12bit的素材应该有72db的DR范围.具体的说在拍摄素材进行数字取样的时候,会产生一定的量子化躁点,随着bit depth的增大,量子化躁点会随之减小,但当量子化躁点值小于模拟信号中的躁点值时,进一步增大bit depth也不在改变量子化躁点的大小了,由此bit depth和躁点之间可以计算得到,大约就是1bit具有6db的范围.理论上是72db,red one可以达到66db.而量子化躁点的用处就在于防止转磁胶和分级调色时的润滑色彩过渡的问题,比如色阶问题或者颜色过渡太硬.解释这些方面真是比较心虚.有这方面比较专业的请帮忙解释下,以免我不够正确. 这是别人的测试数据图:
 以上的描述,都是我个人的理解,又不对的地方请更正.thnx!
Color Space & Bit Rates:
Mysterium™在拍摄时都是进行12bit的位深拍摄,如果要设到10bit也可以.这里再解释下什么是bit depth.色彩在计算机中被真正的数字换算,所以以2的乘方的形式存在,在0和1的世界里.所谓的8bit,即2的8次方每个色彩通道.意思是每个色彩(RGB中的各一)通道都有2的8次方=256级的颜色,粗俗点的理解就是每个通道颜色有256个层次(包括0在内,所以范围应该是0-255,在值为0时即为黑,255时为白),所以8bit的素材实际上应该有3*2的8次方=16777216种颜色,因为有RBG三个通道.同理如果是10bit或12bit就是2的10次方或者12次方,有1,073,741,824 或者 68,719,476,736 种颜色,每通道1024或4096色.自然的是颜色越多越好,画面层次越润滑,色彩还原越高.以供后期操作的也就越多了.
8-bit
2^8 256 values per channel 16,777,216 possible colors 10-bit 2^10 1,024 values per channel 1,073,741,824 possible colors 12-bit 2^12 4,096 values per channel 68,719,476,736 possible colors Data Rates:
如果是12bit的数据,自然数据传输率就是保证实时操作相当重要的环节了.
传统的的raw格式,是把所有的色彩信息记录在一个色彩通道内,自然的比RGB分色储存的数据量要小得都,但对于4k的素材也不能小看.
uncompressed 4.5k raw的格式在24p的模式下,大约是323M/s,因此每帧应该是大约13.46M(普通HD素材RGB模式是6-7M/f,168M/s)
4.5K@60p - 807.50 MB/sec
4.5K@30p - 403.75 MB/sec 4.5K@24p - 323 MB/sec 2K@120p - 375.67 MB/sec 2K@60p - 187.84 MB/sec 2K@30p - 93.92 MB/sec 2K@24p - 75.13 MB/sec red one使用的raw格式的好处很明显了,2k@24p比普通HD素材24pRGB模式的传输率还小.(似乎普通dv的编码率是3.多M/s, 无压缩4:2:2似乎是20多M/s,不太确定.) 看来大容量的raid是不可少的了.
(以上数据都是推算数据,仅供参考)
学习未完待续
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Tech Improvement with Red One_part_A有集中上网的时间也不是什么好事,突然觉得,自己跟电影技术的改革好像有了严重代沟了.先从数字摄影机开始补下课了:
首先是最便宜的RED:
Red one 的Mysterium ™ 超级35mm(24.4×13.7mm)传感器是red的较大亮点,配上较好的镜头理论上应该可以达到和传统胶片摄像机一样令人震惊的景深和可选焦点.在镜头方面red可以配置支持NIKON或CANNON的转接环,也具备专门为red one开发的两支:RED 300MM f2.8 和RED 18-85MM f2.8 ZOOM LENS,至于什么样的镜头能达到什么样的效果，个人是个外行，所以不便叙述。 如果需要使用canon或者nikon的话，配置相应的转接环 Canon 35mm FD Mount and then Red出品的lens
SPECIFICATIONS:
COMING IN THE SECOND WAVE...
同样，red one 也可以使用 Arri Stander-Arriflex stuidio
由red one拍摄的素材，经由摄影机，直接记录在机载硬盘里（也有称为闪卡的），就跟上胶片盒一样，每次拍摄只能认到一个storage，虽然机子上可以挂载好几个盘。
记录的格式为 REDCODE RAW，如果是4k的数据传输率为24M/s至35M/s， 基本上是100G/h。可以直接通过REDCODE PLUGIN 或者 RED ALERT 或者 REDCINE将redcode输出至各大editing软件。 存储介质可以是 RED DRIVE RED RAM 还有几种所谓的The RED CompactFlash [CF]存贮卡 因为容量较小个人认为并不太实用就不再论述，最小8g的卡大约是200美刀，但还得配上它的读写器，大约是500刀，所以最少要付出700刀。
最看好redone的原因除开他的便宜外，就是他的工作流程不在需要繁复的胶转磁工艺和庞大而又昂贵的工艺设备了。直接通过Mac Pro和Final Cut就能很轻松的搞定。 Final Cut HD workflow: Final Cut DI workflow:
总结：
上文中出现的价格是red的官网用户论坛的价格，所以是比较权威的美刀。 这是一家国内网站刊出的价格： RED ONE 专业支架（基本型）：9300元 RED 300MM f2.8 LENS（要价37000元）和RED 18-85MM f2.8 ZOOM LENS（要价71000元）。 再加上redone 主机的17500usd的钱。 估计再过不了多久，电影的殿堂也将挂上DV的门脸了，从前期到后期的制作费用大大的降低，也不再需要像panavision和arri那样的超极多钱的设备。那华龙胶转磁部门是不是要倒了...... 个人工作室就能达到4k log 4：4：4的制作水平了 关键还在于自身艺术制作素质了。 真是社会变化太快！！
附录：
有兴趣的人可以参观： red的主页：http://www.red.com red的用户论坛：http://www.reduser.net
学习未完待续
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26 de janeiro the Achievement in visual effects of the 80th Oscar料也能料想到 今年的AIVE提名都是哪些片了
“The Golden Compass”
(New Line in association with Ingenious Film Partners) Michael Fink, Bill Westenhofer, Ben Morris and Trevor Wood “Transformers”
(DreamWorks and Paramount in association with Hasbro) Scott Farrar, Scott Benza, Russell Earl and John Frazier “Pirates of the Caribbean: At World’s End”
(Walt Disney) John Knoll, Hal Hickel, Charles Gibson and John Frazier what about the detail u can find in IMDB.com
我个人很是希望Transformers拿到这个奖 不过论技术开发 还是海盗占了优
而aive一般都是新技术革新的奖项
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12 de agosto 忽悠 YU+Co08 de julho Heroic VFX: Stargate Digital and NBC HeroesHere is the article that descibe the visual effects in the series HEROES, and at last let me find out what is the matter of the frozen shots, great admire for the crew's creativity
here is it, from www.fxguide.com
With over 1000 effects in the first season, Stargate Digital has just finished the first season of the NBC smash hit Heroes. We look behind the heroes to their visual effects artists and discover how the shows characters fly, regenerate, stop time and more.
 In a flash to one possible future NY is destroyed  Heroes is shot nearly entirely in Los Angeles with the exception of a small hand full of shots, yet the shows characters travel from India to NY - both now and in the future. To achieve this the production worked with Stargate Digital. In this week's podcast we speak with VFX Supervisor Mark Kolpack and Supervising Producer Mark Spatny about Stargate Digital's work on the NBC television series Heroes. 
Claire before 
Claire after As discussed in the podcast, one of the most challenging shot sequences in the whole series so far was the burning and regeneration of the character Claire. Originally planned as a multiple actress sequence, on set it was decided that the shots would only work if only Hayden Panettiere played the role at all times. 
Claire Before 
Claire After Hayden Panettiere, only 17 in real life, was scanned and a digital double was perfectly matched over the plate of her performance. This allowed the After Effects compositors at Stargate Digital to both burn and regenerate the hero Claire. 
Original Green Screen 
BG plate 
The final flying shot Early on, the show had to deal with flying characters. VFX Supervisor Mark Kolpack wanted to produce feature film level effects and to improve on the normal solutions for flying. While some wire work is still done as in the shots above, they worked on new approaches. The show started doing full body scans and producing digital doubles to allow for more believeable flying sequences in the show. While initally considered a gamble, many of the actors have now been scanned and digital doubles are used as a standard part of the visual effects tools at the team's disposal. 
This rooftop matte painting encompasses a 270 degree view it was placed in a 3D cube in After Effects that can be matched with Boujou tracking to the blue screen elements focal length and angle of view 
Steam elements airplanes birds and moving people in windows were added during compositing 
The final composite - one of many shots done on this set The destruction of New York City was always going to be a very senstive issue. On the one hand the images from the real 9/11 are so well known, the audience knows what to expect from collapsing building. But the team wanted to be respectful to New York City. Luckily the audience has responded to the show and its depiction of a possible New York City tragedy. They have separated the real life events from the fantastic world of the fictional Heroes and the fans have responded very well to the visual effects shots of NY destruction. 
To achieve the effect of frozen time special rigs were used 
To achieve this effect the crew had to make sure even the wind was not blowing the tree leaves In "bullet time" or the classic multiple camera shoot, all action is frozen and the path of the cameras cannot be very complex. Without either the shooting time nor the resources for a computerized camera rig, the team needed to be inventive. The solution was to produce special frozen mounts and rigs to allow for actors to just act still and frozen while filmed by a normal camera. To make the effect work there is also filmed a semi clean plate. While this plate is not motion control, it provides enough textures for the team to project onto dummy geometry and make a convincing final shot. The finishing touches are added by having some CG objects seamingly suspended in the air. This approach allowed the character Hiro to actually interact with the set and 'walk' the visual effect in the same pass as the main plate photography solving both eyelines and removing the need for any motion control. 
For many locations in the show Stargate Digital uses what it called the Digital Backlot 
The show is filmed in LA but it is often required to be set in remote locations Stargate Digital is often called upon to produce digital backlots for a variety of shows, not just Heroes. The company did the huge Ferry crash in Grey's Anatomy and similar environments in shows such as Ugly Betty. 
To create this memorial service from the epicenter of the explosion that devasted Manhattan 
The plate was extended from the green screen with cg cranes and elevators and up to 10 video plates of construction workers 
The final composited shot a clear reference to 9 11 real ground zero Stargate digital has been invited back for Heroes series two. Listen to the podcast for more great behind the scenes discussion of the show and explanation of the effects used. ...
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. 05 de maio 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
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and i am waiting my two first jobs as an assistant VFX supervisor of a featured film
and as a VFX supervisor of a MV in the end of May.
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23 de janeiro Apocalypto, the ruin of great civilization, the great Maya culture
a great civilization is not conquered from without , until it has destroyed itself from within. - Will Durant the new film by Mel Gibson, the new great film let us know something about the history of south america. 最开始,我误解了这部片子的所在历史背景,我一直认为他说的是有关印加王国的征服扩张史,因为最后出现的西班牙征服者与印加王国的覆灭有着直接的联系,直到我上了官网(http://apocalypto.movies.go.com/),才知道背景讲述的是玛雅文明,但这又却和与我所知的历史有了逻辑上的错误.就我所知的玛雅文明应该在公元10世纪左右就已经消逝待尽了,哥伦布作为欧洲人第一次发现南美洲大陆是1493年,差了四个世纪,400年左右的时间,两者是应该不会出现交集的,但是apocalypto.com上的编年却是这样的: 公元前3100年：根据玛雅历法，神开始创造世界。 公元前2600年：玛雅文化开始在中美洲的高地和低洼地带形成，农业耕种技术已经成型。 公元前1500年：玛雅文化开始发展，意识形态进入前古典时期。 公元前700年：古中美洲大陆上第一次出现玛雅文字。 公元前400年：古中美洲大陆上最早的计时工具玛雅石制阳历第一次出现。 公元前300年：无数玛雅文化上的名城如Tikal城、Uaxactun城、El Mirador城等纷纷在地图上涌现，以国王和贵族为统治阶级的皇室系统开始确立。 公元前200年：随著奥尔麦克文化(Olmec)开始没落，玛雅文化成为大陆上的主流文化，玛雅古典时期蓬勃发展，知识和文化形态开始到达顶峰。 公元600年：Tikal城内人口接近50万，因此Tikal成为古中美洲最强大的城市，而另一大城市Teotihuacan城因未知事件而受到破坏。 公元750年：玛雅人的商务交流开始没落，战争与骚乱频起，玛雅部落之间的冲突愈演愈烈。 公元800年：许多玛雅大城开始被废弃，统治阶级把权力转移到东部城市，如今天的古巴，墨西哥等。 公元899年：盛极一时的Tikal城也被废弃。 公元900年：随著城市的衰落，玛雅文化进入后古典时期。尽管许多玛雅城镇继续按传统方式运作，在之后的好几百年内玛雅文化逐渐愈托尔特克(Toltec)文化互相交融。 公元1517年： 西班牙人抵达尤卡坦半岛，并带来能消灭当时90%幸存玛雅人口的未知疾病。尽管大部分玛雅人被西班牙人以武力征服，但仍然有许多玛雅人继续在暗中通过各种冲突反抗西班牙人的统治，两者的对立状态持续达一个世纪。 公元1695年：一个西班牙牧师发现了Tikal城的遗迹。 公元1697年：最后一个玛雅城市Tayasal倒塌。 公元2012年：12月22日玛雅阳历终止，根据玛雅人的预言，世界将会因一系列大 地震而发生永远的改变。 玛雅文明所属的区域用现代政治国家疆域来划分应该在包括了墨西哥东南部及尤卡坦半岛上的几个州、半岛东南部的伯利兹英属洪都拉斯、居于玛雅腹地背靠太平洋的危地马拉、通往中南美洲走廊上的洪都拉斯,的确与印加文明的秘鲁地区没多大的联系,其实就跟大唐和吐蕃的关系很像,在我认为.实际上有不少书上写着,玛雅到了公元903年就已经覆灭了, 按现在的普遍说法应该是玛雅古典期文明的完结,而不是玛雅文化的完结.一般说，玛雅文明经历了几个不同的阶段，每个阶段在玛雅地区里有明显不同的地理分布，大致是由南向北迁移。公元前１０００年或可上溯至３０００年前，直到公元后３世纪，这是玛雅文明的形成期；公元３世纪至公元９世纪末，是玛雅文明的古典期又称古王国时期，这是一个全盛期，主要集中在中部低地，在巅峰阶段突然衰落；公元１０世纪至１６世纪初，后古典期又称新王国时期，集中在尤卡坦北部平原，因西班牙人入侵而告中断；１６世纪后就是殖民统治时期，玛雅文化受到严重摧残，玛雅民族大部避迁偏远地带。这是现代人对玛雅文明的划分,而所有的迷团所处的时间段,就是古典时期的突然衰落.而当1695年所谓的文明人第一次发现玛雅古城废址时,已然是该城被抛弃的700多年后,而当时近百万的人口又去到了什么地方,古典时期的玛雅人所带的文化科技又去到了何方,在西班牙人抵达那里之前的600年的时间里,玛雅人巨城又为什么不再浮现了呢.对于我来说, 唯一的解释必然是之后的玛雅文明已经不再是之前那个为现代世人所惊叹的那个了.古典时期的玛雅人伟大在: 他们在7世纪建造殿面长100米，宽80米的帕伦克宫 他们的乌克斯玛尔的总督府，由22500块石雕拼成精心设计的图案，分毫不差。奇琴·伊察的武士庙，屋顶虽已消失，那巍然耸立的1000根石柱仍然令人想起当年的气魄 他们按照神奇的玛雅历法周期建造的各自的建筑物 他们把一年分为18个月，他们测算的地球年为365.2420天，现代人测算为365.2422天， 他们测算的金星年为584天，与现代人的测算50年内误差仅为7秒。 他们还有一种特殊的宗教纪年法，一年分为13个月，每月20天，称为“佐尔金年”。这种历法从何而来，因为这种年法不是以地球上所观察到的任何一种天体的运行为依据的。以致有人变为，“佐尔金年”历法是玛雅人的祖先依据另一个至今我们尚不知道的星球制订的 他们在公元前4世纪就掌握了“0”这个数字概念，比中国人和欧州人都早了800年至1000年。 他们还创造了20进位计数法，他们的数字演算可沿用到400万年以后。这样庞大的天文数字，只有在现代星际航行和测算星空距离时才用得上。而几千年前的玛雅人刀耕火种，用树叶遮体，用可可豆作媒介以物换物，这样的数字演算他们用得着吗？ 他们有自己的文字，那是用800个符号和图形组成的象形文字，词汇量多达3万个。 他们有着精美绝伦的雕刻、绘画和青铜艺术。然而在这个登峰造极的高度文明诞生之前，玛雅人巢居树穴以采集为生，这样的原始部落怎么能突然产生这么高度文明？即使到了16世纪，西班牙人在布满古迹遗址的尤卡坦半岛上看到的印第安人，还是以树叶，住泥巴糊的茅屋，以采集狩猎勉强糊口。 天哪,是怎样一个民族,怎样一个文明. 他们还有: 1952年6月有5日，人们在墨西哥高原的玛雅古城帕伦克一处神殿的废墟里，发掘出了一块刻有人物和花纹的石板。当时人们仅仅把这当作是玛雅古代神话的雕刻。但到了六十年代，人们乘坐宇宙飞船进入太空后，那些参与过宇航研究的美国科学家们才恍然大悟：帕伦克那块石板上雕刻的，原来是一幅宇航员驾驶着宇宙飞行器的图画！虽然经过了图案化的变形，但宇宙飞船的进气口、排气管、操纵杆、脚踏板、方向舵、天线，软管及各种仪表仍清晰可见。这幅图画的照片被送往美国航天中心时，那些宇航专家们无不惊叹，一致变为它就是古代的宇航器。这似乎令人难以置信，但却是确凿的事实。
水晶头骨的传说,也就不用再叙述了,这是一个人尽皆知的传奇,除去在十八世纪才为人初步掌握的解刨学,玛雅人却在个位数记事的世纪年代就已经精确掌握了,并且通过只用现在的金刚石工具加工工艺加工出来. 虽然后来被证实传说是个赝品. 很是监介了一下. 总而言之,同时期阶段的印地安文化的三大支阿兹特克、玛雅和印加真是充满各种传奇,黄泉大道,黄金城.这也和三大文化的犬牙交错有关,只是交错的实在相当的神奇. http://www.apple.com/trailers/touchstone/apocalypto/theatrical_large.html http://www.apple.com/trailers/touchstone/apocalypto/teaser_large.html
下面是摘抄整理的玛雅文化之迷, 在看这些东西的时候,外面居然刮起了大风,太渗了. 在墨西哥及尤卡坦半岛上，耸立着许多气度非凡的金字塔，它们是玛雅人留下的作品。其规模之宏伟，构造之精巧，乃至于情景之神秘，完全可以与埃及金宇塔媲美。以太阳金字塔为例吧∶塔基长225米，宽222米，和埃及的胡夫金字塔大体相等，基本上是正方形，而且也正好朝着东南西北四个方向，塔的四面，也都是呈“金”字的等边三角形，底边与塔高之比，恰好也等于圆周与半径之比。它们的天文方位更使人惊骇∶天狼星的光线，经过南边墙上的气流通道，可以直射到长眠于上层厅堂中的死者的头部;而北极星的光线，经过北边墙上的气流通道，可以直射到下层厅堂。他们的建塔技术的高趄也是惊人的。以库库尔坎金宇塔为例吧∶塔基呈四方形，共分九层，由下而上层层堆叠而又逐渐缩小，就像一个玲珑精致而又硕大无比的坐日蛋糕。塔的四面共有91级台阶，直达塔顶。四面共364级，再加上塔顶平台，不多不少，365级，这正好是一年的天数。九层塔座的阶梯又分为l8个部分。这又正好是玛雅历一年的月数。玛雅人崇信太阳神，他们认为库库尔坎(即带羽毛的蛇)是太阳神的化身。他们在库库尔坎神庙朝北的台阶上，精心雕刻了一条带羽毛的蛇，蛇头张口吐舌，形象逼真，蛇身却藏在阶梯的断面上，只有在每年春分和秋分的下午，太阳冉冉西坠，北墙的光照部分，棱角渐次分明，那些笔直的线条也从上到下，交成了波浪形，仿佛一条飞动的巨蟒自天而降，逶迤游走，似飞似腾，这情景往往使玛雅人激动得如痴如狂。类似的奇观还出现在南美丛林。这种融天文知识、物理知识、建筑知识于一体所造成的艺术幻觉，即使用现代水平来仿制，也是非常困难的。l968年，一批科学家试图探测这些金字塔的内部结构，令人费解的是∶他们在每夭的同一时间，用同-设备，对金字塔内的同一部位进行X射线探测，得到的图形竟无一相同。美国人类学家，探险家德奥勃洛维克和记者伐兰汀，对尤卡坦进行考察时，发现有许多地道连通的地下洞穴，地道的结构与金字塔内的通道十分相似。他们拍摄了九张照片。但是，能印出来的只有一张，而且，这一张所拍摄到的也只是一片旋涡形的神秘的白光。他们想起了埃及陵墓中令人毛骨悚然的法老的诅咒，只好乖乖地停止了探测。 超越时代的天文、历法 玛雅人的天文台常常是一组建筑群。从中心金字塔的观测点往庙宇的东面望去，就是春分、秋分的日出方向;往东北方的庙字望去，就是夏至的日出方向，往东南方的庙宇望去，就是冬至日出的方向等等，像这样的天文台有好几处，最负盛名的是奇钦伊查天文台。奇钦伊查天文台是玛稚丈化中唯一的圆形建筑物。一道螺旋形的梯道通向三层平台，-顶上有对惟符个星座的天窗。从上层北面窗口厚达3米的墙璧所形成的对角线望去，可以看到春分、秋分落日的半圆;而南面窗口的对角线，又正好指着地球的南极和北极。奇怪的是，他们天文台的观察窗并不对准夜空中最明亮的星星，却对准肉眼根本无法看见的天王星和海王星。我们知道∶天王星是178l年，由赫歇尔发现的;海王星是l846年，由柏林天文台发现的。千百年前，玛雅人怎么知道它们的存在?他们的历法也是奇特而又精确的。他们把一年分成l8个月，每月20天，年终再加5天为禁忌日，合为365日之数。他们测箕地球年是365.2420天，现在的准确计算是365.2422天，一年的误差不过0.0002天，也就是说，5000年的误差也不过一天。他们测算的金星年是584天，和现代的测量相比，50年内的误差只有7秒。他们还保留着一种特殊的宗教纪年法，每年13个月，每月20天，称为卓尔金年。这种纪年法不是以地球上所观察到的天体运行情况为根据测算出来的。敏感的人们有理由怀疑，这种纪年法来自他们的祖先，而他们的祖先则来自另一个星球。玛稚人还准确地推演出这几种历法的神秘的关系，地球年365天，金星年584天，隐藏着一个公约数∶73。365除以73等于5，584除以73等于8。而卓尔金年、地球年、金星年，又隐藏着一个神秘的公倍数，从而推导出有名的金星公式：
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进入FCP完成剪辑后完全可以直接入到COLOR里进行调色，淡然愿意的话去LUSTER也可以。关键是纯数字的制作，不在需要先胶片扫描然后存储的麻烦和费时了，也就不用再见到cutlist的复杂程序流程了。 又省力又省钱了，多了钱完全可以投入到效果制作上。其他的流程也同样，只不过是先加入了redcine这个软件:
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