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 Dollhouse - Secrets de tournage

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tru



Messages : 572
Date d'inscription : 30/12/2007
Age : 44

MessageSujet: Dollhouse - Secrets de tournage   Lun 29 Juin - 23:45

J'ai trouvé un article parlant de Zoïc Studios et la façon dont ils ont tourné la fameuse scène où Eliza fait de l'escalade et les effets visuels du réembobinage des souvenirs. Zoic travaille avec la série et s'occupe des effets spéciaux. Ils ont fait quelques arrangements pour rendre la scène de l'escalade plus dangereuse qu'elle ne l'est en réalité... Je n'ai pas vraiment le temps ni l'envie de me mettre à la longue traduction, mais je le ferais dès que je serais dispo d'ici ce week-end


[...] In order to create the many lives of Echo and others, Whedon turned to frequent visual effects collaborator Zoic Studios to undertake that aspect of the production. Rocco Passionino, Dollhouse's visual effects supervisor at Zoic, won an Emmy working with Whedon on Firefly and he says their long, successful relationship brought them together again.
A greenscreen was used to heighten the danger level in a rock climbing scene.
Yet unlike Whedon's other, more sci-fi series, Dollhouse
has a much more naturalistic tone that belies a more subtle approach
with the visual effects. "They wanted to keep it very grounded,"
Passionino explains. "They wanted to keep most of the effects that we
were doing fairly invisible. They didn't want it to be in-your-face
effects outside of the mind wipe. Most of our work is used to augment
the show and make it look fairly seamless.
"Overall, we've done some set enhancements and environment
adjustments," Passionino continues. "It is very grounded and not a show
with fanciful worlds, so mainly the effects have been helping whatever
being an "Active" means. In some episodes, Echo had to do some stunts
that were over the top. Like in the second episode ("Target"), Eliza
had to do some rock climbing so we had to give the sequence the sense
that there is more danger than originally intended."
The one consistent visual effects trope in Dollhouse is
the mind wipe process, in which an "Active" is put in a chair that
literally zaps their memories into a recorder that's archived by the
Dollhouse proprietors. Audiences get to see what that process looks at
from Echo's perspective.

"The
mind wipes are the biggest effects of the show," Passionino explains.
"Joss has said over and over again that the goal in accomplishing the
mind wipes is that he wants the imagery and feel to be that whatever is
going on inside of Echo's head is being sucked and pulled and ripped
from her mind as she gets cleaned every end of episode. When she
becomes inactive, the idea was to suck as much imagery out and to
highlight from a story standpoint iconic imagery of what has been going
either in the episode or any sort imagery that would help to highlight
plot points. If there are certain things they want the audience to
remember and focus on for when thing plays out down the line, they
wanted to highlight those images."
Passionino says they initially missed the mark on how to accomplish
the visual effect. "We tried doing it as a 2D solution but realized
right off the bat that Joss wanted more depth to the whole thing, so we
ended up going with both 2D and 3D solutions. We are using both Maya
and After Effects to accomplish the look. And we have about two to
three compositors working on the show to do it." As for shot counts,
Passionino says each episode can vary wildly. "There are a couple
episodes that don't have any visual effects and some that have had 20
or 30 shots."

Unlike Joss Whedon's previous series (Buffy, Angel, Firefly), Dollhouse is a bit over the top, but still rooted in reality.
When asked to compare Zoic's work on Dollhouse as compared to Buffy, Angel, Firefly and Serenity, Passionino explains that "they all had a surreal supernatural theme running through them. Dollhouse
somewhat does in that some of the actions she does are above and beyond
what a normal human being would do. But it's nice that it's not
something as in your face and over the top as far as visual effects go.
Now it would be good to broaden it a little bit more than what it is,
but the scope is definitely not one that gets too crazy."
Already in production on the last episodes of the 13-order run,
Passionino says the mind wipe effect has matured as the story has. "The
concept of the mind wipes definitely progress and we're off-setting
that in some of the later episodes as far as what the ultimate goal of
that concept is. Joss always wanted the concept of picking out
snapshots of your memories and then having them play out and be drawn
away from you. In future mind wipes, we take that same stock idea and
twist it a little bit to make it unique and play with it differently.
As the series progresses, it finds its voice. In the later episodes,
it's nice to know exactly what the scope of the work is supposed to be
and I think the later episodes the visual effects are much more fun."
In particular, the season finale has already been floated by
Whedon to be a completely surreal break from the norm for the series
and Passionino vouches for that description.
"The last episode is very interesting," he chuckles. "The
intention of that episode is bizarre and it's done for half the price
of what a normal show is done. They contained their resources and the
environments to not make it as expansive as a normal show. For us, I
think the concept is phenomenal. I would have hoped that they could
have brought the concept in earlier but it opens up everything and
allows us to run away with the fact that technology has done more than
they intended it to."
Tara Bennett is an East Coast-based writer whose articles have appeared in publications such as SCI FI Magazine, SFX and Lost Magazine. She is the author of the books 300: The Art of the Film and 24: The Official Companion Guide: Seasons 1-6.
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Messages : 313
Date d'inscription : 25/02/2008
Localisation : Bruxelles Belgique

MessageSujet: Re: Dollhouse - Secrets de tournage   Ven 10 Juil - 14:39

merci, c'est très intéressant Cool
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