\u0158\u00edk\u00e1 se mu \"p\u00edskov\u00e1 clona\". \"V pou\u0161t\u00edch Jord\u00e1nska a Spojen\u00fdch arabsk\u00fdch emir\u00e1t\u016f, kde re\u017eis\u00e9r Denis Villeneuve nato\u010dil v\u011bt\u0161inu filmu Duna, je v\u0161e v r\u016fzn\u00fdch odst\u00ednech b\u00e9\u017eov\u00e9. Aby tomu odpov\u00eddal, ud\u011blal vedouc\u00ed vizu\u00e1ln\u00edch efekt\u016f Paul Lambert n\u011bco, co nikdy p\u0159edt\u00edm neud\u011blal: zm\u011bnil zelen\u00e9 obrazovky na hn\u011bd\u00e9. Sandscreen znamenal, \u017ee Villeneuve mohl v\u0161echny sv\u00e9 z\u00e1b\u011bry kr\u00e1sy po\u0159\u00eddit v pou\u0161ti a Lambert mohl v postprodukci snadno p\u0159idat, co pot\u0159eboval. Sta\u010dilo jen vym\u011bnit barvu p\u00edsku za jakoukoli budovu, pozad\u00ed nebo zv\u00ed\u0159e, kter\u00e9 cht\u011bl. D\u00edky tomu mohl ka\u017ed\u00fd z\u00e1b\u011br vypadat co nejp\u0159irozen\u011bji - a tak\u00e9 mohl vytvo\u0159it jednu z nejikoni\u010dt\u011bj\u0161\u00edch bytost\u00ed sci-fi.\n<\/p>\n
Mluv\u00edme samoz\u0159ejm\u011b o p\u00edse\u010dn\u00fdch \u010dervech. Jak popisuje Frank Herbert v Dun\u011b, p\u00edse\u010dn\u00ed \u010dervi jsou mohutn\u00ed tvorov\u00e9, kte\u0159\u00ed \u017eij\u00ed v rozlehl\u00fdch p\u00edsc\u00edch Arrakisu a produkuj\u00ed \"ko\u0159en\u00ed\" - nejcenn\u011bj\u0161\u00ed l\u00e1tku ve zn\u00e1m\u00e9m vesm\u00edru. Fremen\u016fm, p\u016fvodn\u00edm obyvatel\u016fm Arrakisu, slou\u017e\u00ed tak\u00e9 jako dopravn\u00ed prost\u0159edek. Fremeni si do jejich \u0161upinat\u00e9ho zevn\u011bj\u0161ku zav\u011b\u0161uj\u00ed ot\u011b\u017ee a stoj\u00ed na nich, kdy\u017e se plaz\u00ed pou\u0161t\u00ed. D\u00edky p\u00edskov\u00e9mu pl\u00e1tnu mohl Lambert nato\u010dit herce na m\u00edst\u011b \" na p\u00edse\u010dn\u00e9m \u010dervu\" - v podstat\u011b na pohybliv\u00e9 plo\u0161in\u011b na kardanu pokryt\u00e9 b\u00e9\u017eovou barvou - a pak pod n\u011bj p\u0159idat \u010derva pomoc\u00ed CGI. Lambertovi to umo\u017enilo vytvo\u0159it plynul\u00fd z\u00e1b\u011br VFX (v Dun\u011b jich bylo v\u00edce ne\u017e 2000) a Villeneuveovi co nejp\u0159irozen\u011bj\u0161\u00ed vzhled filmu. \" Nikdy nejsem supervizor, kter\u00fd Denisovi \u0159ekne: 'Pod\u00edvej, kdybychom to cel\u00e9 ud\u011blali na modr\u00e9m pl\u00e1tn\u011b...'\". Lambert \u0159\u00edk\u00e1. \" T\u00edmto zp\u016fsobem nepracuji. \"\n<\/p>\n
Dal\u0161\u00edm \u00fasp\u011bchem bylo navrhnout samotn\u00e9 \u010dervy. Villeneuve za\u010dal na Dun\u011b pracovat hned pot\u00e9, co v roce 2017 dokon\u010dil Blade Runner 2049. \" Pot\u0159eboval jsem hodn\u011b \u010dasu a [studio] mi ho poskytlo, \" \u0159\u00edk\u00e1 Villeneuve. \" Kdy\u017e jsme za\u010dali s p\u0159\u00edpravou, bylo u\u017e v\u0161echno z v\u011bt\u0161\u00ed \u010d\u00e1sti navr\u017een\u00e9, v\u00fdtvarn\u00e9 koncepty byly hotov\u00e9. \" Ve spolupr\u00e1ci s produk\u010dn\u00edm design\u00e9rem Patricem Vermettem str\u00e1vil m\u011bs\u00edce snahou o spr\u00e1vn\u00fd design \u010derv\u016f - jejich velikost, strukturu, s\u00edlu, kterou by pot\u0159ebovali k pohybu v tun\u00e1ch p\u00edsku.\n<\/p>\n
\" Je z\u0159ejm\u00e9, \u017ee Duna m\u00e1 tak velkou fanou\u0161kovskou z\u00e1kladnu, \u017ee kdy\u017e se pod\u00edv\u00e1te na internet - zadejte si do Googlu t\u0159eba \"Dune sandworm\" - existuje tolik r\u016fzn\u00fdch verz\u00ed,\" \u0159\u00edk\u00e1 Vermette. \" A Duna byla takovou inspirac\u00ed pro mnoho milovn\u00edk\u016f sci-fi a film\u016f, kter\u00e9 byly nato\u010deny. Ve Hv\u011bzdn\u00fdch v\u00e1lk\u00e1ch je p\u00edse\u010dn\u00fd \u010derv. Tak\u017ee jsme cht\u011bli ud\u011blat n\u011bco docela origin\u00e1ln\u00edho a d\u011bsiv\u00e9ho. \"\n<\/p>\n
Design p\u00edse\u010dn\u00fdch \u010derv\u016f, kter\u00fd vymysleli, Lambert naz\u00fdv\u00e1 \"prehistorick\u00fdm\". \" Je chrupav\u010dit\u00fd, pokryt\u00fd \u0161upinami a vypad\u00e1, \u017ee je dlouh\u00fd stovky stop. Jednou z nejlep\u0161\u00edch p\u0159edloh byla velryba. Velk\u00e1, zej\u00edc\u00ed tlama p\u00edse\u010dn\u00e9ho \u010derva, kter\u00e9mu se Paul Atreides (Timoth\u00e9e Chalamet) postav\u00ed \u010delem, je pln\u00e1 chrupavek; jeho pohyby pod hladinou musely b\u00fdt velmi kytov\u010d\u00ed. Lambert\u016fv t\u00fdm v\u0161echny tyto n\u00e1pady vyu\u017eil p\u0159i digit\u00e1ln\u00edm vytv\u00e1\u0159en\u00ed \u010derv\u016f, vykreslov\u00e1n\u00ed jejich textur v programu Clarisse, jejich animaci v programu Maya a n\u00e1sledn\u00e9 kompozici jednotliv\u00fdch z\u00e1b\u011br\u016f v programu Nuke.\n<\/p>\n
Pak tu byla je\u0161t\u011b z\u00e1le\u017eitost se jmenovcem \u010derva: p\u00edskem. Samotn\u00ed tvorov\u00e9 maj\u00ed v Dun\u011b n\u011bkolik z\u00e1b\u011br\u016f za pen\u00edze, ale v\u011bt\u0161inu \u010dasu jsou spat\u0159eni d\u00edky sv\u00e9mu pohybu pod zem\u00ed. Tyto vlnky na povrchu dun, kter\u00e9 Herbert nazval \" wormsign \", musely b\u00fdt tak\u00e9 vytvo\u0159eny digit\u00e1ln\u011b. Kdy\u017e byl Lambert na nat\u00e1\u010den\u00ed v pou\u0161ti, cht\u011bl si ud\u011blat p\u0159edstavu o tom, jak vizualizovat masivn\u00ed posun p\u00edsku, kter\u00fd \u010dervi zp\u016fsob\u00ed um\u00edst\u011bn\u00edm v\u00fdbu\u0161nin pod zem, \" ale na Bl\u00edzk\u00e9m v\u00fdchod\u011b to asi nen\u00ed to nejlep\u0161\u00ed, co by se dalo d\u011blat. \" M\u00edsto toho vytvo\u0159il simulaci pohybu p\u00edsku pomoc\u00ed softwaru Houdini, zalo\u017eenou p\u0159ev\u00e1\u017en\u011b na pohybu vody.\n<\/p>\n
To n\u00e1s p\u0159iv\u00e1d\u00ed k n\u011b\u010demu dal\u0161\u00edmu, co je na p\u00edse\u010dn\u00fdch \u010dervech jedine\u010dn\u00e9: k jejich zvukov\u00fdm \u00fa\u010dink\u016fm. Krom\u011b chv\u011bn\u00ed zem\u011b by Fremeni v pou\u0161ti Arrakis - a div\u00e1ci v kin\u011b - m\u011bli b\u00fdt schopni sly\u0161et pohyb \u010derva. P\u00edse\u010dn\u00ed \u010dervi tak\u00e9 sleduj\u00ed podzemn\u00ed zvuky, t\u00e9m\u011b\u0159 jako sonar (op\u011bt: velryby), a proto Fremeni odv\u00e1d\u011bj\u00ed pozornost tvor\u016f pomoc\u00ed \" tlampa\u010d\u016f \", kter\u00e9 neust\u00e1le nar\u00e1\u017eej\u00ed na povrch zem\u011b. To znamenalo, \u017ee p\u0159\u00ed\u0161ery v Dun\u011b musely m\u00edt sv\u00e9 vlastn\u00ed zvuky - a tato pr\u00e1ce p\u0159ipadla zvukov\u00e9mu t\u00fdmu Marka Manginiho a Thea Greena. Dvojice spolupracovala s Villeneuvem na filmu Blade Runner 2049 a p\u0159i\u0161la p\u0159i tom na filozofii, kter\u00e1 se p\u0159enesla i do Duny: Mangini \u0159\u00edk\u00e1: \"V\u0161echny tyto zvuky by m\u011bly p\u016fsobit, jako by \u017eily ve vesm\u00edru, kter\u00fd zn\u00e1me.\" Villeneuve \" si velmi zakl\u00e1dal na tom, aby v\u0161e, co sly\u0161\u00edme, p\u016fsobilo organicky nebo akusticky. \"\n<\/p>\n
Aby mohli tuto filozofii praktikovat, p\u0159i\u0161li s dal\u0161\u00edm nov\u00fdm konceptem: fale\u0161n\u00fdm dokument\u00e1rn\u00edm realismem, zkr\u00e1cen\u011b FDR. \u0160lo o to, aby Duna vyzn\u011bla jako dokument nato\u010den\u00fd \u0161t\u00e1bem vyslan\u00fdm na Arrakis. Ne p\u0159\u00edli\u0161 \"zvukov\u011b designov\u011b\", \u0159\u00edk\u00e1 Green. Pro p\u00edse\u010dn\u00e9 \u010dervy se tedy dvojice vzep\u0159ela kli\u0161\u00e9 filmov\u00fdch monster a vytvo\u0159ila \" t\u0159epotav\u00fd \" zvuk pro wormsign - n\u011bco, co znamen\u00e1 nebezpe\u010d\u00ed v d\u00e1lce. Do \u00dadol\u00ed smrti vzali hydrofony - podvodn\u00ed mikrofony - a nahr\u00e1li zvuk pohybuj\u00edc\u00edho se p\u00edsku. Pro zvuk otev\u00edraj\u00edc\u00ed se tlamy \u010derva vytvo\u0159ili t\u00f3n \"gunk-gunk-gunk\" vrstven\u00edm zpracovan\u00fdch lidsk\u00fdch a zv\u00ed\u0159ec\u00edch zvuk\u016f. (Dvojice se zdr\u00e1h\u00e1 uv\u00e9st p\u0159\u00edklady. \"Nemysl\u00edm si, \u017ee by tam bylo n\u011bco zvl\u00e1\u0161\u0165 exotick\u00e9ho,\" \u0159\u00edk\u00e1 Mangini.) Sandworm movement tak\u00e9 pou\u017e\u00edv\u00e1 zvuky vrzaj\u00edc\u00ed k\u016fry strom\u016f a krout\u00edc\u00edch se li\u00e1n. Zvuk, kter\u00fd vyd\u00e1v\u00e1, kdy\u017e spolkne cel\u00fd stroj na sklize\u0148 ko\u0159en\u00ed? To Mangini s mikrofonem v \u00fastech nas\u00e1v\u00e1 spoustu v\u011btru.\n<\/p>\n
V\u00fdsledkem je n\u011bco, co je stra\u0161ideln\u011b \u0159\u00eddk\u00e9, stejn\u011b jako samotn\u00e1 Arrakis. Je to tak\u00e9 velmi odli\u0161n\u00e9 od svi\u017en\u00e9ho stylu v\u011bt\u0161iny sci-fi film\u016f. \"Na Denisovi jsem si v\u0161iml, \u017ee mi ani jednou nedal za vzor n\u011bco z jin\u00e9ho filmu,\" \u0159\u00edk\u00e1 Green. \"Pou\u017e\u00edv\u00e1 jin\u00e9 filmy jako p\u0159\u00edklady toho, co se nem\u00e1 d\u011blat,\" dod\u00e1v\u00e1 Mangini. P\u00edse\u010dn\u00ed \u010dervi se tedy nepodobaj\u00ed \u017e\u00e1dn\u00e9mu z monster v t\u011bchto filmech. Villeneuve v\u00edce ne\u017e strach cht\u011bl, aby lid\u00e9 c\u00edtili k \u010derv\u016fm \u00factu, kdy\u017e se objev\u00ed na pl\u00e1tn\u011b, a Manginimu \u0159ekl: \"Je to sp\u00ed\u0161 b\u016fh ne\u017e Godzilla. \"<\/p>\n","protected":false},"excerpt":{"rendered":"
\u0158\u00edk\u00e1 se mu \"p\u00edskov\u00e1 clona\". \"V pou\u0161t\u00edch Jord\u00e1nska a Spojen\u00fdch arabsk\u00fdch emir\u00e1t\u016f, kde re\u017eis\u00e9r Denis Villeneuve nato\u010dil v\u011bt\u0161inu filmu Duna, je v\u0161e v r\u016fzn\u00fdch odst\u00ednech b\u00e9\u017eov\u00e9. Aby tomu odpov\u00eddal, ud\u011blal vedouc\u00ed vizu\u00e1ln\u00edch efekt\u016f Paul Lambert n\u011bco, co nikdy p\u0159edt\u00edm neud\u011blal: zm\u011bnil zelen\u00e9 obrazovky na hn\u011bd\u00e9. Sandscreen znamenal, \u017ee Villeneuve mohl v\u0161echny sv\u00e9 z\u00e1b\u011bry kr\u00e1sy po\u0159\u00eddit […]<\/p>\n","protected":false},"author":1,"featured_media":34336,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[32],"tags":[],"class_list":["post-34332","post","type-post","status-publish","format-standard","has-post-thumbnail","","category-spice-world"],"_links":{"self":[{"href":"https:\/\/movieworld.blog\/cs\/wp-json\/wp\/v2\/posts\/34332","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/movieworld.blog\/cs\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/movieworld.blog\/cs\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/movieworld.blog\/cs\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/movieworld.blog\/cs\/wp-json\/wp\/v2\/comments?post=34332"}],"version-history":[{"count":0,"href":"https:\/\/movieworld.blog\/cs\/wp-json\/wp\/v2\/posts\/34332\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/movieworld.blog\/cs\/wp-json\/wp\/v2\/media\/34336"}],"wp:attachment":[{"href":"https:\/\/movieworld.blog\/cs\/wp-json\/wp\/v2\/media?parent=34332"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/movieworld.blog\/cs\/wp-json\/wp\/v2\/categories?post=34332"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/movieworld.blog\/cs\/wp-json\/wp\/v2\/tags?post=34332"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}