The Meg Imdb Inhaltsverzeichnis
Meg (Originaltitel: The Meg) ist ein US-amerikanischer Science-Fiction-Film des Regisseurs Jon Turteltaub, der auf dem Roman Meg: A Novel of Deep Terror. Christian Pokorny, Visual Effects: The Meg. Known For. The Avengers Visual Effects (). Snowpiercer Visual Effects (). Cloud Atlas Visual Effects (). Known For. The Meg Visual Effects (). The Meg (compositing artist: ScanlineVFX Munich). Jurassic World: Fallen Kingdom (compositing supervisor: ScanlineVFX Munich). Jim Button. The Meg (compositing artist: ScanlineVFX Munich). Jurassic World: Fallen Kingdom (compositing artist: ScanlineVFX Munich). Jim Button and.
Composer Experiences · Hollywood Masterclasses · Blue Planet II · The Meg · Hollywood Masterclasses · The Crown · Genius. Project Overview - IMDB. Meg (Originaltitel: The Meg) ist ein US-amerikanischer Science-Fiction-Film des Regisseurs Jon Turteltaub, der auf dem Roman Meg: A Novel of Deep Terror. The Meg () - IMDb. Mehr dazu. The Meg () - IMDb. Find this Pin and more on Movies recently watched () by Johannes Pelzer. Tags. Two interesting fantomas stream for women - one low rent and the other high class - team up to take down the men who have wronged. User Ratings. Dave Murray Still, that did not deter Click to see more Visual Effects Supervisor Adrian De Wet from closely referencing real shark behavior and using that as a leaping-off point for the film's Megalodon. Avery Skip Stellrecht Skyscraper Michael Porterfield Retrieved September source, Molen to Hollywood filmmaking.
The Meg Imdb VideoThe Meg
Wiith Jason Jennings adding: "In terms of building tension leading up to an attack, it's all about paring back all the elements beforehand.
Before the attack, you'll find that things get quiet and calmer and a little sparse. Then, all of a sudden, there's this huge explosion of power.
It's all about clearing a space for the attack so that it means something. When asked how they made being underwater feel uncomfortable Eric Aadahl stated: "That's an interesting question, because it's very subjective.
To me, the power of sound is that it can play with emotions in very subconscious and subliminal ways.
In terms of underwater, we had many different flavors for what that underwater sound was. In that scene with Jonas going above and below the water, it's really about that frequency shift.
You go into a deep rumble under the water, but it's not loud. It's quiet. But sometimes the scariest sounds are the quiet ones. It's a cool shift because when you are above the water you see the ripples of the ocean all over the place.
When working in 7. You have all of this motion and it's calming and peaceful. But as soon as you go under, all of that goes away and you don't hear anything.
It gets really quiet and that makes people uneasy. There's this constant low-end tone and it sells pressure and it sells fear.
It is very different from above the water. It's something you feel; this pressure pushing against you, and that's something we can do with the subwoofer.
In Atmos, all of the speakers around the theater are extended-frequency range so we can put those super-low frequencies into every speaker including the overheads and it translates in a way that it doesn't in 7.
In Atmos, you feel that pressure that Turteltaub talked a lot about. Sound Editor Van der Ryn stated: "In regards to perspective in that scene regarding the giant squid when you're outside the submersible, it's a wide shot and you can see the arms of the squid flailing around.
There we're using the sound of water motion but when we go inside the submersible it's like this sphere of plastic. In there, we used Atmos to make the audience really feel like those squid tentacles are wrapping around the theater.
The little suction cup sounds are sticking and stuttering. When the squid pulls away, we could pinpoint each of those suction cups to a specific speaker in the theater and be very discrete about it.
The system the guys have written will then make the muscles and skin move in the correct way so you don't have any intersections and it won't fold in on itself.
That meant Imageworks had to re-do several of its original bubble and cavitation simulations. Rowe thinks the ultimate result was much more engaging.
The two whales introduced early in the movie are named Lucy and Gracie. Their names are likely references to the 20th-century comediennes Lucille Ball aka Lucy and Gracie Allen.
To enable Imageworks to turn around so many shots for the third act so quickly, Sue Rowe employed several new methods.
The first was to rely on Maya's Viewport 2. You see, when you distill everything down that you need for an underwater movie, it's pretty much about bubbles and particulates.
Whenever the scene goes underwater Director Jon Turteltaub wanted the audience to feel extremely uncomfortable, like it was an alien place and you didn't want to be down there.
Whenever its underwater the sound had to do that sonic shift to make the audience feel like something bad could happen at any time.
Similarly, there were moments when the filmmakers felt that some underwater shots were still missing something. Sue Rowe realized the 'secret source' were things she called 'streams', bubbles that matched the tail movement of the Meg, or even crept out of the creature's nose.
The idea that was employed for shark was, adds Sue Rowe, "if you ever look at a thoroughbred horse and how their muscle shakes, it ripples down their body.
And from that you know that this is a really muscular, powerful character. So we said, let's do the same for the Meg.
You'll see a little twitch in the muscle or the gills. We definitely amplified those things using Ziva. The animators built multiple types of coral, different types of rock and sand, and had some fish in there as well.
And then clustered them altogether and covered it in coral with Sprout. Imageworks had been able to craft a realistic shark and a realistic underwater environment, but there was still another element that was needed to help sell the shots: bubbles.
More specifically, it was the cavitation of bubbles around submarines, propellers, and even the Meg itself.
During the climactic scene in the film with hundreds of people on a beach and a megalodon in the water. There's one character inside a "zorb" ball -- an inflatable hamster ball for humans that's used for scrambling around on top of the water.
At a certain point, this "zorb" ball pops and that was a sound which Turteltaub was obsessed with getting right.
Eric Aadahl stated: "We went through so many iterations of that sound. We wound up doing this extensive balloon popping session on Stage 10 at Warner Bros.
We popped a bunch of different balloons there, and we accidentally popped the weather balloon, but fortunately we were rolling and we got it.
So a combination of those sounds created the"'zorb" ball pop. One of the early things that the director and the picture editor Steven Kemper mentioned was that they wanted to make a character out of the underwater environment.
They really wanted to feel the difference between being underwater and above the water. There is a great scene with Jonas Jason Statham where he's out in the water with a harpoon and he's trying to shoot a tracking device into The Meg.
He's floating on the water and it's purely environmental sounds, with the gentle lap of water against his body. Then he ducks his head underwater to see what's down there.
The sound editors switched perspectives there and it's really extreme. This deep underwater rumble, like a conch shell feeling.
When asked how they builded up upon with Mei ling's encounter with the Meg Eric Aadahl stated: "That's a fun scene because you have the young daughter of a scientist on board this marine research facility located in the South China Sea and she's wandered onto this observation deck.
It's sort of under construction and no one else is there. The girl is playing with this little toy -- an iPad-controlled gyroscopic ball that's rolling across the floor.
That's the featured sound of the scene. You just hear this little ball skittering and rolling across the floor.
It kind of reminds me of Danny's tricycle from The Shining. It's just so simple and quiet. The rhythm creates this atmosphere and lulls you into a solitary mood.
When the shark shows up, you're coming out of this trance. It's definitely one of the big shock-scares of the movie. Before the attack, the rolling of the ball and the tickety-tick of it going over the seams in the floor really does lull you into a sense of calm.
Then, when you do see the shark, there's this cool moment where the shark and the girl are having a staring contest.
You don't know who's going to make the first move. There's also a perfect handshake there between sound design and music. The music is very sparse, just a little bit of violins to give you that shiver up your spine.
Then, WHAM! When asked what was the most challenging scene for sound. Eric Aadahl stated: "There's a rescue scene that takes place in the deepest part of the ocean, and the rescue is happening from this nuclear submarine.
They're trying to extract the survivors, and at one point there's this sound from inside the submarine, and you don't know what it is but it could be the teeth of a giant megalodon scraping against the hull.
That sound, which takes place over this one long tracking shot, was one that the director focused on the most. We kept going back and forth and trying new things.
Massaging this and swapping that out it was a tricky sound. Ultimately, it ended up being a combination of sounds.
Jay and sound effects editor Matt Cavanaugh went out and recorded this huge, metal cargo crate container.
They set up mics inside and took all sorts of different metal tools and did some scraping, stuttering, chittering and other friction sounds.
We got all sorts of material from that session and that's one of the main featured sounds there. Eric Aadahl stated: "We went to record that container on one of the hottest days of the year.
We had to put Matt Cavanaugh inside and shut the door! So we did short takes. I was on the roof dragging shovels, rakes, a garden hoe and other tools across the top.
We generated a ton of great material from that. As with every film we do, we don't want to rely on stock sounds.
Everything we put together for these movies is custom made for them. Sue Rowe explained about The final frames, "This is what I always say to people who start out in the industry, the computer might solve it in a certain way, but if it doesn't look how the director ultimately wants it to look, then we just have to make sure it fits into the movie.
Visual effects studios are constantly being asked to deliver more shots more quickly than ever before. It can be a major challenge to get effects out the door for review, work to final them, and then deal with inevitable changes.
Which is why Sony Pictures Imageworks Visual Effects Supervisor Sue Rowe decided to tackle things slightly differently when she took on the challenge of helping to craft the third act of The Meg.
Imageworks provided quick versions of the shots using Viewport 2. Sue Rowe and her team looked at a multitude of cavitation reference cavitation actually occurs when the propellers cause the water to boil and get ejected out the back.
Noticing that the cavitation trail tends to be quite elongated, this was how Imageworks originally approached simulations in Houdini. However, at some point, notes Rowe, "the director saw a few shots where the cavitation actually rose up, rather than shoot out straight.
He really liked this look, even though it wasn't necessarily physically correct. One of sound supervisors Eric Aadahl favorite scenes, "was when you do not see or hear it, but because of this tracking device that they shot into its fin, they are able to track it using sonar pings.
In that scene, one of the main characters is in this unbreakable shark enclosure just waiting out in the water for The Meg to show up.
All you hear are these little pings that slowly start to speed up. To me, that's one of the scariest scenes because it's really playing with the unknown.
Sharks are these very swift, silent, deadly killers, and the megalodon is this silent killer on steroids. So it's this wonderful, cinematic moment that plays on the tension of the unknown -- where is this megalodon?
It's really gratifying. When asked about the sub-bass sounds in that scene with Mei Ling's encounter with the Meg Eric Aadahl stated: You have the mass of this multi-ton creature slamming into the window, and you want to feel that in your gut.
It has to be this visceral body experience. By the way, effects re-recording mixer Doug Hemphill is a master at using the subwoofer.
So during the attack, in addition to the glass cracking and these giant teeth chomping into this thick plexiglass, there's this low-end "whoomph" that just shakes the theater.
It's one of those moments where you want everyone in the theater to just jump out of their seats and fling their popcorn around.
To create that sound, we used a number of elements, including some recordings that we had done awhile ago of glass breaking. My parents were replacing this 8' x 12' glass window in their house and before they demolished the old one, I told them to not throw it out because I wanted to record it first.
So I mic'd it up with my "hammer mic," which I'm very willing to beat up. It's an Audio-Technica AT, which has a fixed stereo polar pattern of degrees, and it has a large diaphragm so it captures a really nice low-end response.
I did several bangs on the glass before finally smashing it with a sledgehammer. When you have a surface that big, you can get a super low-end response because the surface acts like a membrane.
So that was one of the many elements that comprised that attack. We found a good-sized plastic container that we filled with water and we put a hydrophone inside the container and put a contact mic on the outside.
From that point, we proceeded to abuse that thing with handsaws and a hand rake -- all sorts of objects that had sharp points, even sharp rocks.
We got some great material from that session, sounds where you can feel the cracking nature of something sharp on plastic. For another cool recording session, in the editorial building where we work, we set up all the sound systems to play the same material through all of the subwoofers at once.
Then we placed microphones throughout the facility to record the response of the building to all of this low-end energy. So for that moment where the shark bites the window, we have this really great punching sound we recorded from the sound of all the subwoofers hitting the building at once.
Then after the bite, the scene cuts to the rest of the crew who are up in a conference room. They start to hear these distant rumbling sounds of the facility as it's shaking and rattling.
We were able to generate a lot of material from that recording session to feel like it's the actual sound of the building being shaken by extreme low-end.
When asked how they handle the sound of the underwater world Eric Aadahl stated: "Jay [Jennings] just put a new pool in his yard and that became the underwater Foley stage for the movie, so we had the hydrophones out there.
In the film, there are these submersible vehicles that Jay did a lot of experimentation for, particularly for their underwater propeller swishes.
The thing about hydrophones is that you can't just put them in water and expect there to be sound.
Even if you are agitating the water, you often need air displacement underwater pushing over the mics to create that surge sound that we associate with being underwater.
Over the years, we've done a lot of underwater sessions and we found that you need waves, or agitation, or you need to take a high-powered hose into the water and have it near the surface with the hydrophones to really get that classic, powerful water rush or water surge sound.
Jason Jennings further revealed : "We had six different hydrophones for this particular recording session.
These are all different quality mics -- some are less expensive and some are extremely expensive, and you get a different frequency response from each pair.
Once we had the mics set up, we had several different props available to record. One of the most interesting was a high-powered drill that you would use to mix paint or sheetrock compound.
Connected to the drill, we had a variety of paddle attachments because we were trying to create new source for all the underwater propellers for the submersibles, ships and jet skis -- all of which we view from underneath the water.
We recorded the sounds of these different attachments in the water churning back and forth. We recorded them above the water, below the water, close to the mic and further from the mic.
We came up with an amazing palette of sounds that didn't need any additional processing. We used them just as they were recorded.
We got a lot of use out of these recordings, particularly for the glider vehicles, which are these high-tech, electrically-propelled vehicles with two turbine cyclone propellers on the back.
We had a lot of fun designing the sound of those vehicles using our custom recordings from the pool. They set out to capture the migration of humpback whales.
One of our hydrophones got tangled up in the boat's propeller because we had a captain who was overly enthusiastic to move to the next location.
So there was one casualty in our artistic process. Sound Editor Jason Jennings: liked the scene in the submersible shark cage where Suyin Bingbing Li is waiting for the shark to arrive.
The boat that is holding the cable starts to get pulled along. That was fun to work on. Also, I enjoyed the end of the film where Jonas and Suyin are in their underwater gliders and they are trying to lure The Meg to a place where they can trap and kill it.
The gliders were very musical in nature. D'Angelo Tawanda Manyimo Marks Mark Trotter Injured Sailor James Gaylyn David E.
Jordan Andrew Grainger Morris' Lawyer Steven A. Speedboat Crewman Glen Levy Speedboat Mercenary Edwin Wright Morris' Helicopter Pilot Marc Copage Interrogator Sui Fong Ivy Tsui Bride Jeremy Tan Groom Teresa Lee Bridesmaid Douglas Lee Wedding Photographer Tim Wong News Camera Operator Yoson An News Helicopter Pilot Piroon Vongvaruj Thai Boat Crewman Boaz Magege Launch Controller Yao Yao Dude on Raft Kelly the Dog Pippin the Dog Rest of cast listed alphabetically: Christian Hipolito Filipino Chummer uncredited Dylan Thomas Knight Morris Speedboat Driver uncredited Leand Macadaan Filipino Fisherman 1 uncredited Christian Tejada Jie Chen Randy Greenberg Main Unit Kim Sinclair Set Dec Designer Mike Falkner Construction Office Manager Filippo Valsecchi Lead Man Abi Wollcombe Hemphill Jason W.
Young Antwone Barnes Anthony Barcelo Stereo Artist D. ScreenX senior producer Ann Chow Brian Connor Stereo compositor Ronald Ellis Double Negative Tiku Roemello Fisher Tristam Gieni Lasse Hamann Production Assistant Digger Jensen Modeling TD Jubey Jose ScreenX producer Tae Hyun Kim Creative Supervisor Gyanendra Maharjan Lighting TD Jarrett Marshall VFX Gretel Ng Barry Poon Michael Porterfield Animator Casey Pyke Department Production Manager Maya Roza Visual effects editor: Legend 3D Katya Ruslanova Stereo Artist Ali Tezel Pawan Singh Tomar Visual Effects Accountant Tracey Vaz Michael Williams Paul WojdyloEr selbst ist skeptisch, dass der erlegte Hai tatsächlich der richtige ist, da dessen Zähne nicht mit on gratis filmes line vorherigen Angriff visit web page. Während des Kampfes konnte Suyin alle auf ein Boot more info, wo ein chinesisches Ehepaar go here. The arrival of another wooden box from the Lords presents the Big H team with free tickets, posters and records to host a gig in Salem. EnglischChinesisch. Zhang und bringt das Boot zum Kentern. August Jon Turteltaub.