I like how it seemed to perpetually be winter in China, at CNSA.
Movies in General
- Thread starter bladerunner
- Start date
I like how it seemed to perpetually be winter in China, at CNSA.
I thought they were going for a Cold War parallel ala 2010:Odyssey Two.
TerraN_EmpirE
Tyrant King
Might be a hidden reference to the pollution problems in the PRC
Pretty sure pollution =/= snow
I think it was more to show CNSA as a bit of a counterpart/foil to NASA, and maybe comparing China to the US. Everything looked bleaker in China lol, which I'm sure wasn't meant to be malicious at all but still plays to a few stereotypes.
Something else funny was that the Chinese control centre seemed to wear a uniform that harkens back to the 80s, whereas they tend to wear much sharper looking labcoats, since the last few years.
TerraN_EmpirE
Tyrant King
Well one point to make is that the NASA space centers JPL and Johnson are in Southern California and Texas. The film seems to have been cast for sequences over a long term but set towards the latter half of the years. Especially October and November so perhaps we should ask where they set the CNSA facilities. I mean the PRC is a very very big nation and there are a number of major cities along the Siberian boarder.
TerraN_EmpirE
Tyrant King
Also to point out it seemed like 99% of the earth footage till the very end of the movie was indoors.
Edit: They set the CNSA at Jianquin on the Gobi of inner Mongolia so it's not impossible. Also in retrospect, the whole earth side of the film was overcast giving earth a darker lighting almost constantly.
I wonder if they filmed in Vancouver?
Edit: They set the CNSA at Jianquin on the Gobi of inner Mongolia so it's not impossible. Also in retrospect, the whole earth side of the film was overcast giving earth a darker lighting almost constantly.
I wonder if they filmed in Vancouver?
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AssassinsMace
Lieutenant General
It's probably as simple as you only saw the CNSA building I think two or three times and only a couple brief scenes in China. The building looked like any building in any modern city. They had to keep it at night since over at the US it would be assumed it was day. If they changed the whether, the audience probably wouldn't have known it was the same building.
AssassinsMace
Lieutenant General
More evidence of the end of the man-in-suit era?
TerraN_EmpirE
Tyrant King
Well Mace, I think Ironically the main reason for the change over from Suitmation to CGI is the Same reason that Godzilla and Gamera were made with Suitmation vs stop motion.
If we Track back to the Production Of Gojira the film that would become the basis of Godzilla and lay the ground work for all the great Japanese Kaiju Movies and Television even to today's Ultraman and Super Senti. The Original Aim was to make Gojira using the same technique used the very very first Kaiju film. King Kong 1933 RKA Radio pictures USA. It was a bench mark, in the Giant monster Franchise not the first film to use the concept of a giant monster as far back as 1925 there were Giant monster films but it was the first in which the monster transcended from raw beast of destruction to real character. It was also widely successful it was a movie re-released 5 times across 3 decades and even into the 1950's it was a success.
So when the Great Ishiro Honda came in to make Godzilla it was not a huge leap for him to think Stop motion. The Original Kong was Stop motion and the effects were grand for the Time.
however troubles soon started the best FX man in Japan was the great Eiji Tsuburaya who also wanted to do stop motion but the budget and time constraints meant that they could not do the effects shots as they needed to be done. So they had to find another way that was faster and less expensive. Again Kong swooped in to the Rescue.
Japan had known Kong was a hit in the 30's and Japanese film producers like any of there breathren world wide were always looking for a buck looked to get the King Kong Cash. In 1933 and 1938 two early suitmation films Wasei Kingu Kongu and Edo ni Arawareta Kingu Kongu were made and Released in Japan. Both Films were lost in the chaos of WW2 but technique used was the basis of Suitmation take a stuntman dress him as you monster and let him loose on scale miniatures.
Eiji Tsuburaya was already a master of miniatures he had done extensive work with them in movies before the war and in propaganda films during it.
He found ways to turn the fall back plan into a advantage with the right filming and actors.
It was Cheaper, Faster to film and effective. A sculpted suit weighing almost 200 pounds 6 foot tall and made of black Rubber was the answer. It combined with some puppetry and a exceptionally built studio miniature.
Suitmotion was launched and found it's way into Successive Japanese productions as well as a few foreign ones to. American TV and movies made use of the technique either totally or partially using actors on miniatures or suit-man in sets. Attack of the 50 foot woman or the battle or Kirk vs the Gorn in the Star Trek Episode Arena.
Even Today some degree os Suitmotion is used in Super Sentai. however for some time now Godzilla productions have blended CGI and Suitmotion. Even the terrible 1998 Roland Emmerich film used some Suit motion mostly for the man sized Zilla spawn. And Godzilla 2000 featured a number of CGI FX inter cut as did successive godzilla films and Gamera films of the Same era.
And in A way Suit motion was also used in Godzilla 2014, Motion Capture was used in modeling the movements of Godzilla in the film.
Because CGI is not as destructive IE if a building comes down wrong in the fist take you can rest with a key stroke and not days of work down the drain it's cheaper. the details are unlimited and the effects of the monster action can be blended more accurately It seems likely that from this point on true full Suitmotion films are gone. what will remain will be use of motion capture some puppetry and blended practical effects into CGI.
If we Track back to the Production Of Gojira the film that would become the basis of Godzilla and lay the ground work for all the great Japanese Kaiju Movies and Television even to today's Ultraman and Super Senti. The Original Aim was to make Gojira using the same technique used the very very first Kaiju film. King Kong 1933 RKA Radio pictures USA. It was a bench mark, in the Giant monster Franchise not the first film to use the concept of a giant monster as far back as 1925 there were Giant monster films but it was the first in which the monster transcended from raw beast of destruction to real character. It was also widely successful it was a movie re-released 5 times across 3 decades and even into the 1950's it was a success.
So when the Great Ishiro Honda came in to make Godzilla it was not a huge leap for him to think Stop motion. The Original Kong was Stop motion and the effects were grand for the Time.
however troubles soon started the best FX man in Japan was the great Eiji Tsuburaya who also wanted to do stop motion but the budget and time constraints meant that they could not do the effects shots as they needed to be done. So they had to find another way that was faster and less expensive. Again Kong swooped in to the Rescue.
Japan had known Kong was a hit in the 30's and Japanese film producers like any of there breathren world wide were always looking for a buck looked to get the King Kong Cash. In 1933 and 1938 two early suitmation films Wasei Kingu Kongu and Edo ni Arawareta Kingu Kongu were made and Released in Japan. Both Films were lost in the chaos of WW2 but technique used was the basis of Suitmation take a stuntman dress him as you monster and let him loose on scale miniatures.
Eiji Tsuburaya was already a master of miniatures he had done extensive work with them in movies before the war and in propaganda films during it.
He found ways to turn the fall back plan into a advantage with the right filming and actors.
It was Cheaper, Faster to film and effective. A sculpted suit weighing almost 200 pounds 6 foot tall and made of black Rubber was the answer. It combined with some puppetry and a exceptionally built studio miniature.
Suitmotion was launched and found it's way into Successive Japanese productions as well as a few foreign ones to. American TV and movies made use of the technique either totally or partially using actors on miniatures or suit-man in sets. Attack of the 50 foot woman or the battle or Kirk vs the Gorn in the Star Trek Episode Arena.
Even Today some degree os Suitmotion is used in Super Sentai. however for some time now Godzilla productions have blended CGI and Suitmotion. Even the terrible 1998 Roland Emmerich film used some Suit motion mostly for the man sized Zilla spawn. And Godzilla 2000 featured a number of CGI FX inter cut as did successive godzilla films and Gamera films of the Same era.
And in A way Suit motion was also used in Godzilla 2014, Motion Capture was used in modeling the movements of Godzilla in the film.
Because CGI is not as destructive IE if a building comes down wrong in the fist take you can rest with a key stroke and not days of work down the drain it's cheaper. the details are unlimited and the effects of the monster action can be blended more accurately It seems likely that from this point on true full Suitmotion films are gone. what will remain will be use of motion capture some puppetry and blended practical effects into CGI.
AssassinsMace
Lieutenant General
Well if you look at the Ultraman trailer I posted earlier I just enjoyed seeing the light of day and not the in-studio artificial daylight sets traditionally going on with these movies. It was something new and refreshing. The environment looked as good as real buildings and all. The CGI Kaijus are still not at par with Hollywood but I have to say I'm excited to see how these movies turn out. I just hope there's the giant Gaos with the cutting beam it shoots out of its mount and not just a lot of little Gaos"lings" flying around. Just building up to see their CGI Godzilla.
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