How was Titanic made?

On April 1th, 1912, the Titanic set sail from Southampton, England. It was 882 feet long, and at that time it was taller than the tallest skyscraper in new york. Its construction cost nearly $7.5 million. The first-class cabin of the ship is designed according to the Palace of Versailles in France, and the fare of a first-class cabin on the maiden voyage is $3,1, equivalent to $124, now. There were 2,223 passengers, about 1,5 of whom were swallowed by the sea at dawn on April 15th.

Mr. Rob Legato of Digital Domain Digital Studio in the United States, when talking about the production of this film, his most commonly used word is "lifelike". "Before I started making this film, I couldn't imagine what the terrible night of the shipwreck would be like. "Mr Legato is the director of visual effects production working for Paramount Film Company. He said," You can see people falling from a height of 23 feet and breaking their arms and legs, chimneys falling on them, ropes crackling and breaking, one end of the ship is sinking rapidly, and panicked people are so scared that they don't understand what happened ... This amazing visual effects technology has created a terrible scene at that time ".

The production of this film cost more than 2 million US dollars. It is the most expensive film in the history of film production and one of the most successful films so far. It is "the most spectacular feature film completed with the most advanced modern technology. Among them, the love between the hero and heroine in two different classes has attracted countless audiences and made this film full of emotion. Due to the accurate grasp of history and superb visual effects, this film is more authentic. Director Jame Cameron said: "We have only one purpose, that is, to bring the audience to the Titanic and let them truly feel the scene at that time." The description of the sunken ship in this three-hour film lasts for 8 minutes.

Digital Domain(DD) Company is the largest and most prestigious digital studio in the world, and has won many honors for its amazing innovative technology in stunt movies, commercial advertisements and CD-ROMs. It is equipped with 1 sets of INFERNO and 2 sets of FLINT visual effect production systems running on SGI super multiprocessor workstation, and has been successfully used in the famous film <: < A true lie > > 、< < Apollo 13 >: > < < The fifth element > > And so on, and for <: < The sinking of Titanic > > It's really a huge challenge for me. They began to make plans for the production of Titanic in 1995, and officially started production in May 1996. It took a year and a half. In order to make Titanic look very real, DD Studio had to solve many very big technical problems, and made great efforts to this end, using more than 3 SGI super workstations and sending more than 5 special technicians to take turns 24 hours a day. Mr. Legato said: "The biggest difficulty in making this film is to make a panoramic shot showing this huge hull and more than 2, passengers on board. This is the usual way of expression in the film, as if it were shot with a telephoto lens or from a helicopter." Obviously, the only way to show the more than 2, passengers on board is to make a ship model and put it in the ocean, simulate the panoramic shot taken from the "helicopter", and use three-dimensional animation to make the sea water and people and synthesize the pictures.

Softimage|3D, a three-dimensional animation creation system of Microsoft Corporation in the United States, is mainly applied to the animation production of this film. The work of 3D animation is divided into five working groups. The working group led by Matthew Butler is mainly responsible for tracking the camera, determining the position of the object in the real shot and the position of the camera in the computer, and then providing this data to the team making oceans, ships, people and other scenes. These data enable passengers' feet made by three-dimensional animation to touch the deck, walk in the corridor or lean against the railing; The seawater produced by computer animation can wash the hull; Smoke can come out of the chimney, etc. These tasks are very arduous, which require motion control data from models established with different specifications and motion matching. The team led by Richard Kidd is mainly responsible for making the ocean with three-dimensional animation. This work will establish some parameters for time, wind speed, wave fluctuation, sun position and reflection, so as to make it closer to the ocean in the real shot, or to create a complete digital ocean, dig out an area in it, replace this area with a good hull model lens, and then make the remnants left on the water when the ship passes by, and make the ocean look more dynamic by using motion blur. The team led by RichardPayne is mainly responsible for the three-dimensional animation of the ship. They first made a 45-foot-long ship model with a scale of 1/2, and then synthesized the shot of the ship model in the dug area in the ocean made by the three-dimensional animation, and at the same time synthesized it with many different model ship exterior scenes. The team led by Kelly Port is mainly responsible for making all the scenery except the characters with three-dimensional animation, such as seagulls, flags, fish, stars in the sky, debris falling from the ship when it collides with the ship, waves splashing between the sea water and the ship, ropes, smoke, fluctuating sails, icebergs, ice cubes on the deck, broken glass and so on. When these productions are combined with real shots, it can be imagined that thousands of computer-made characters will be the most attractive. The team led by Keiji amaguchi used the motion capture system to capture the various actions performed by actors and applied the data to the three-dimensional animated character model. When combined with the ship model, it is hard to believe that these figures with such vitality are made with visual effects. In the shipwreck scene at night in the film, the producers added key-frame animation to the action capture from the actor's performance, because no one wanted to simulate jumping into the sea from 23 feet. This kind of keyframe animation with normal motion curve is easy to modify and expand. When you see the scene where the stern begins to tilt to 9 degrees and thousands of people scream for their lives in despair, 85% of the animation is completed by keyframe animation technology.

INFERNO/FLAME/FLINT, a famous special effects production system of Canada's Discreet Logic Company, is mainly used in the tracking and synthesis production of hundreds of pictures of this film, the most typical of which is the scene in which the sunken ship most spectacularly appeared on the screen. This scene is called "TD35" by DD Studio, which is one of many difficult scenes in this film. When the Titanic slowly left Southampton Port for the vast Atlantic Ocean, Jack Dawson, standing at the bow, excitedly waved his arms and shouted "I am the king of the world". At this time, the camera lens was pulled over his head to the whole ship, showing the huge body of the Titanic and all the passengers on board who synthesized by computer.

Mr. Rob Legato of Digital Domain Digital Studio in the United States, when talking about the production of this film, his most commonly used word is "lifelike". "Before I started making this film, I couldn't imagine what the terrible night of the shipwreck would be like. "Mr Legato is the director of visual effects production working for Paramount Film Company. He said," You can see people falling from a height of 23 feet and breaking their arms and legs, chimneys falling on them, ropes crackling and breaking, one end of the ship is sinking rapidly, and panicked people are so scared that they don't understand what happened ... This amazing visual effects technology has created a terrible scene at that time ".

The production of this film cost more than 2 million US dollars. It is the most expensive film in the history of film production and one of the most successful films so far. It is "the most spectacular feature film completed with the most advanced modern technology. Among them, the love between the hero and heroine in two different classes has attracted countless audiences and made this film full of emotion. Due to the accurate grasp of history and superb visual effects, this film is more authentic. Director Jame Cameron said: "We have only one purpose, that is, to bring the audience to the Titanic and let them truly feel the scene at that time." The description of the sunken ship in this three-hour film lasts for 8 minutes.

Digital Domain(DD) Company is the largest and most prestigious digital studio in the world, and has won many honors for its amazing innovative technology in stunt movies, commercial advertisements and CD-ROMs. It is equipped with 1 sets of INFERNO and 2 sets of FLINT visual effect production systems running on SGI super multiprocessor workstation, and has been successfully used in the famous film <: < A true lie > > 、< < Apollo 13 >: > < < The fifth element > > And so on, and for <: < The sinking of Titanic > > It's really a huge challenge for me. They began to make plans for the production of Titanic in 1995, and officially started production in May 1996. It took a year and a half. In order to make Titanic look very real, DD Studio had to solve many very big technical problems, and made great efforts to this end, using more than 3 SGI super workstations and sending more than 5 special technicians to take turns 24 hours a day. Mr. Legato said: "The biggest difficulty in making this film is to make a panoramic shot showing this huge hull and more than 2, passengers on board. This is the usual way of expression in the film, as if it were shot with a telephoto lens or from a helicopter." Obviously, the only way to show the more than 2, passengers on board is to make a ship model and put it in the ocean, simulate the panoramic shot taken from the "helicopter", and use three-dimensional animation to make the sea water and people and synthesize the pictures.

Softimage|3D, a three-dimensional animation creation system of Microsoft Corporation in the United States, is mainly applied to the animation production of this film. The work of 3D animation is divided into five working groups. The working group led by Matthew Butler is mainly responsible for tracking the camera, determining the position of the object in the real shot and the position of the camera in the computer, and then providing this data to the team making oceans, ships, people and other scenes. These data enable passengers' feet made by three-dimensional animation to touch the deck, walk in the corridor or lean against the railing; The seawater produced by computer animation can wash the hull; Smoke can come out of the chimney, etc. These tasks are very arduous, which require motion control data from models established with different specifications and motion matching. The team led by Richard Kidd is mainly responsible for making the ocean with three-dimensional animation. This work will establish some parameters for time, wind speed, wave fluctuation, sun position and reflection, so as to make it closer to the ocean in the real shot, or to create a complete digital ocean, dig out an area in it, replace this area with a good hull model lens, and then make the remnants left on the water when the ship passes by, and make the ocean look more dynamic by using motion blur. The team led by RichardPayne is mainly responsible for the three-dimensional animation of the ship. They first made a 45-foot-long ship model with a scale of 1/2, and then synthesized the shot of the ship model in the dug area in the ocean made by the three-dimensional animation, and at the same time synthesized it with many different model ship exterior scenes. The team led by Kelly Port is mainly responsible for making all the scenery except the characters with three-dimensional animation, such as seagulls, flags, fish, stars in the sky, debris falling from the ship when it collides with the ship, waves splashing between the sea water and the ship, ropes, smoke, fluctuating sails, icebergs, ice cubes on the deck, broken glass and so on. When these productions are combined with real shots, it can be imagined that thousands of computer-made characters will be the most attractive. The team led by Keiji amaguchi used the motion capture system to capture the various actions performed by actors and applied the data to the three-dimensional animated character model. When combined with the ship model, it is hard to believe that these figures with such vitality are made with visual effects. In the shipwreck scene at night in the film, the producers added key-frame animation to the action capture from the actor's performance, because no one wanted to simulate jumping into the sea from 23 feet. This kind of keyframe animation with normal motion curve is easy to modify and expand. When you see the scene where the stern begins to tilt to 9 degrees and thousands of people scream for their lives in despair, 85% of the animation is completed by keyframe animation technology.

INFERNO/FLAME/FLINT, a famous special effects production system of Canada's Discreet Logic Company, is mainly used in the tracking and synthesis production of hundreds of pictures of this film, the most typical of which is the scene in which the sunken ship most spectacularly appeared on the screen. This scene is called "TD35" by DD Studio, which is one of many difficult scenes in this film. When the Titanic slowly left Southampton Port for the vast Atlantic Ocean, Jack Dawson, standing at the bow, excitedly waved his arms and shouted "I am the king of the world". At this time, the camera lens was pulled over his head to the whole ship, showing the huge body of the Titanic and all the passengers on board who synthesized by computer.

Mr. p>CareyVillegas said: "TD35 lens is the most realistic and difficult lens so far. It synthesizes more than 2 pictures, which is also the largest number we have ever encountered. The effects of sunset and sunrise are also processed on this picture, which makes it closer to nature to the maximum extent. We use INFERNO to complete all the picture tracking and painting work. INFERNO's tracking and stability function is very powerful, and there is a lot of INFERNO tracking work in TD35 shots. "Mr. Villegas said," When you see Jack standing at the bow, all these shots must be tracked manually and completed in INFERNO. "