珍珍港有使用到首部曲累積出來的技術經驗，就是那場飛行競賽，
Photo Shop創造者John Knol是Pod Race的視效監督，每一次
有人撞毀，就要依據物理特性畫出從原來的樣子撞成三四千個碎片
，這個經驗剛好用在撞飛機(不是中美海南島)上，但我想，這部片
很有可能無法在中國大陸上映了．

Hollywood Reporter talks with director Michael Bay about how ILM
became an essential part of making Pearl Harbor happen and how
Episode I effects helped:

"When we were making peace with Japan, part of the treaty was that
we were able to destroy all their Zeroes, all their planes. We
actually made Japan destroy all the documents to rebuild one of
these. I found some plane nuts, these guys who collect these planes,
at the Museum of Flying in Santa Monica. These are very industrious
guys that have actually found a couple of Zeroes that were sunk under
the water. They raised them and they rebuilt these things in Russia
by getting these ancient Japanese plans in an ancient Japanese
language. There were only eight people who can transcribe this. These
plans were done in this ancient Japanese language for secrecy. So
they had to be transcribed into English and then into Russian and
then these planes were rebuilt in Russia."
These planes were photographed in detail and, Bay said. "The footage
was sent to ILM. And from there, they would digitally hand off a real
plane to a fake plane. You'd see the fake plane and go into the water,
crash, burn and rip apart. They were taking some of the software
they invented for (George) Lucas' fourth installment of 'Star Wars,'
where the pod chase breaks up. From there, they kind of perfected that.
"

While it sounds as though there's nothing that Hollywood's effects
wizards can't create now, Bay pointed out, "I really believe you need
to do a lot of it real to make it realistic because you can always
tell there's something fake about computer graphics. But it has
allowed us to do things like recreating the attack on Pearl Harbor
to make it feel like you're there. Literally you see this fleet. One
of our main things in this movie -- I don't want to give it away --
is the sinking of the Oklahoma, which took five torpedo hits and sunk,
they say, in eight minutes. So you've got this battleship with 2,000
guys on it that just rolls over and goes belly up.

"For the movie, we built the world's largest gimbal. It's about 190
feet long. It's the front end of a battleship -- like a front end of
a battleship that rolls all the way upside down and goes under. The
thing was massive. It was built down in the 'Titanic' stage. From
there, we shot that with the stuntmen on (board). ILM will add the
planes. They'll add the fleet behind (the Oklahoma). They'll have
computer guys mixed in with our real guys. That's how we got some of
these epic shots."

It's only been a few years since Bay and Bruckheimer teamed up to
make the 1998 blockbuster "Armageddon" for Disney. Has the state of
the art in visual effects advanced as enormously as it seems? "I
think so," Bay said. "Every year it's taking major jumps. Some of the
toughest things (to create digitally) have been water, fire and smoke. ILM's making great breakthroughs on 3D smoke. There was a lot of smoke at Pearl Harbor. We needed very thick black smoke. Those are the little things that get computer graphics people excited."


[這篇文章曾被 Ewan 重新修正編輯過 (時間 04-07-2001).]