大家下載下來解壓之後，不是會有兩部影片嗎？

一部當然都是BMW的****片，那另一部小小影片也有連續劇式的短片為什麼會放在一起？它的劇情好像是電視上那種犯罪實錄說...呵呵! 也蠻好看的....不過為什麼會出現在壓縮檔裡咧？

我是先抓完player後
再自己去抓檔案回來
(不是用player抓)
結果解在目錄中也無法看
有誰知道為什麼嗎?

要看應該要裝quicktime吧
我有其他問題
最後面有一段像是CAST的地方
可是我看到的是一行亂碼由下往上ㄟ
有人知道那是什麼嗎？

我是用BMW Player看的，到最後類似Cast的地方我也是看到一堆亂碼

應該是軟體與中文版OS不相容的原因吧？

不過檔案真的是太大了，用ADSL都要下載近一個鐘頭.......

現在就等第五部出現了，裡面有我最想看的X5~~~

看了各位上述的內容, 覺得實在很吸引人, 所以也上了網站去下載來看. 在這裡補充幾點.

1. 看此影片一定要有Quicktime Movie player, 可以到 http://www.apple.com/quicktime/ 下載.
2. 看此電影並不一定需要BMW所提供的 BMW Film Player. 用了在我的電腦上反而畫質不好.
3. 如果要放大電影, 按右上角的放到最大按鈕就可以.
4. 把每個影片下載回來後, 每個EXE自動解壓縮會有兩個檔案, 一大一小. 大的是主電影, 小的是sub story.
5. 把Quicktime裝好以後點選檔案兩下就可自動看到電影.
6. 四個壓縮檔加上解壓縮後的檔案總共差不多600 Meg.

第一個電影說的是司機載了一個老乘客, 並不知道乘客受僱運送被竊的鑽石, 結果開到一半歹徒來搶劫. 老頭很緊張的告訴司機他已經把鑽石吞下肚子, 被抓到可能會被開腸破肚. 司機所以幫他. 追逐的畫面多少顯示了BMW的性能與安全性(很耐撞, 也很能撞). 最後司機問老頭真的有吞鑽石ㄇ? 老頭反而顯示了他狡猾的一面. 導演是 John Frankenheimer.

第二個電影說的是司機受僱要將一位小喇嘛運送至寄居的家裡. 在見面的時候小喇嘛給了司機一個見面禮, 並吩咐說到了時候再打開. 在途中也同樣遭受歹徒襲擊, 此追逐片段顯示出BMW靈活的操控性跟安全性(很耐撞, 也很能撞), 不容易打滑, 迴轉度比一般車高. 到了寄居家庭後, 另一故事發生, 司機靠著敏銳細緻的觀察救了小喇嘛. 禮物在之後也派上用場. (好像有點是幫李安的新電影打****?? 綠巨人). 這個電影成現了比較溫馨的感覺. 導演是李安.

第三個電影司機受僱去跟蹤某大電影男演員的老婆, 她開的是Z3的樣子. 這部我覺得主要追求的是一種感覺, 從司機在跟蹤她時的旁白可以得知. 電影在最後顯現出司機的正義感. 音樂很好聽, 影片也給人一種浪漫的感覺. (有點像是追求一個女孩子) 導演是王家衛.

第四個電影應該是算卡司最大, 不過也是最具娛樂性的一部. 司機受僱要載一位女明星(瑪丹那)到某個首映會(的樣子), 影片有點諷刺的意味(電影明星的大牌, 耍脾氣, 無理取鬧, 欲所欲求). 在司機受夠了這位"大明星"的脾氣後, 決定"給她點顏色看看". 於是就油門踩到底.. 嘿嘿.. 飛車中的畫面只能用很好笑來形容, 當然也是充分展現了BMW的性能(還會飛ㄡ~~). 當女明星到達目的地後發生的事, 更是非常非常的幽默. 建議沒耐性的可以先看這部. 導演是 Guy Ritchie.

四部都展現了不同的風格ㄅ, 我都很喜歡, 打算燒成CD讓朋友也分享一下. 只是不知道何時才能有一台自己的BMW. ㄏㄏ...

相關資訊(英文版):

Andrew Hardaway, VFX Supervisor

Andrew Hardaway joined Radium Santa Monica eight months ago to juice the company's 3D and commercial departments. Hardaway, formerly a technical director at Industrial Light & Magic, was looking for a road back to Los Angeles. He had made the rounds at the small post houses in the L.A. area, and settled on Radium when he saw the company's reel.

With its flagship operation located in San Francisco, Radium opened an office in Santa Monica one year ago. In a short time, the post house has made impressive inroads into the commercial market. Most recently, Radium provided the VFX for BMW 'short films' directed by John Frankenheimer and Ang Lee. Andrew Hardaway jammed with VFXPro on the joys of working with John Frankenheimer on "Ambush."

Look for our story on Radium's work for Ang Lee's "Chosen," coming soon to VFXPro.
--------------------------------------------------------------------------------




I got involved in the project just as the scripts were being completed. At the time I was doing a small project with David Fincher, the executive producer. I knew they were developing this project and I told them I would love to be involved. They told us we could start on some pre-production work for some of the shorts. Under David's direction, I started on some very preliminary boards, which served only as a suggestion to the directors as they signed on.

I got involved when they were beginning to get the first word about John Frankenheimer coming on to direct "Ambush". Having done some digital car work and having studied his films very closely for car performance, I was excited about that.

John has a big personality and I think it comes through in his filmmaking. It certainly comes through in his directing style. He is extremely fair and he is very much a team player. It𠏋 a collaborative effort and he insists on that.

He was fairly new to digital visual effects. The second night of shooting, we were forced onto a stage in Santa Clarita because of rain. We almost instantly decided that there were going to be 20 to 30 more greenscreen shots than we had originally anticipated. That brought the total of greenscreen shots up to 50. At the very beginning of the evening, John bellowed out, 'Andrew, get over here!' I went to him and he said, "Now, Andrew I want to tell you something. This is the most weight I have put on digital effects to create one of my films. Don㦙 screw this up." He made sure we got all of the time that we needed to get the necessary plates.





All of the shots inside the BMW, and many of the shots directly on the exterior of the BMW, were greenscreen shots tackled in inferno by co-visual effects supervisor Jonathan Keeton and lead compositor Chris Jones. We supervised all of the matching plates out on location and made sure that everything lined up. There were lots of enhancements that we tried hard to integrate into the action, so it would seem like it was shot out on location. The shell casings coming out of the automatic weapons were particle simulations created in Maya. All of the sparks and tracer fire and many of the muzzle flashes were done in inferno. There were many instances where we created digital tire smoke and debris.

John specified that he wanted one of the four BMWs used on the shoot to be reconfigured so its steering wheel was on the right hand side and the stunt driver could be driving the car and either the main talent or his double could be driving. We used four BMWs in various states of disrepair in the spot. There are some digital vans, but I will leave it up to the viewer to try to figure out which they were. When the big rig turns sideways, that𠏋 actually a full-sized truck. That was a very dangerous practical stunt that they did four times in a row. It was harrowing to watch.

The end sequence was digitally augmented with additional explosions, interactive light and flying debris made with particle systems. That was all done in Maya and composited in inferno.






The challenge was very simple, and that was to make it seamless. We were shooting for "no comment," and that's exactly what we received from John Frankenheimer in the end. He had virtually no revisions at all and we are very proud of that.

For every director there is a certain rhythm of effects and after we saw the first couple of edits of "Ambush" it was very clear to me that the additional muzzle flashes and the flares and the sparks needed to have a certain cadence about them. Visual effects always have to adhere to the continuity of the action and I think there are ways that you can use visual effects to enhance the readability of the edit. They can also be used to increase the level of visual and emotional intensity in the shot, while remaining integrated so they don㦙 seem gratuitous.

We did 90 shots with a very small crew -- two inferno artists, one 3D artist and one producer, with some help here and there from other members of staff. We did it in approximately three and half weeks of post. The effects weren㦙 film resolution -- they were 720x486 -- but they were feature-like effects done on a commercial effects schedule.

Andrew Hardaway, VFX Supervisor
Radium


CREDITS


Production Company: Anonymous Content

Director:
John Frankenheimer
Writer: Andrew Kevin Walker
Cinematographer: Newton Thomas Sigel
Production Designer: Michael Hanan
Producer: Aristides McGarry
Producer: Robyn Boardman


Visual Effects Company: Radium

VFX Supervisor:
Andrew Hardaway
VFX Supervisor: Jonathan Keeton
Digital Artists: Andrew Hardaway
Jonathan Keeton
Chris Jones
Scott Harris
Rob Hubbard
VFX Producer: Carla Attanasio
VFX Executive Producer: Steve Schofield


Editorial Company: Spot Welders

Editor:
Robert Duffy
Assistant Editor: Ben Darling
Executive Producer: David Glean


Tools

Software:
inferno
Maya

非常感謝後來幾位網友的補充說明，
讓我這種英文不太行的小朋友得已窺得全貌....

尤其是 zosarade兄的詳盡說明，真是太令人感動!! ^^

大家都是愛看影片的人, 看到好的影片當然要有所介紹. 爾且這次光亞洲導演就有兩位, 可說是為亞洲人爭光ㄅ. 越多人知道越好. 我已經燒成CD了. ㄏㄏ...

我也去下載來看，真是不錯耶!

不過我看得時候出現兩個小問題，
(1) 影片好像不太順耶! 有時候會一跳一跳的(不是很明顯)，我的電腦應該跑得動啊…有時還會出現解碼的錯誤(奇怪的色塊)…大家用quicktime看得時候會這樣嗎? (我的是quicktime 4.01)

(2) 影片最後的那段藍色畫面，有字浮出來是什麼意思啊? 我看到的全是亂碼，如下: