including its teeth and its tongue,
and put them into a cat...
whose facial expression
was more that of a cat...
which is generally
sort of nonplussed.
The animators moved not only
the mouth and the cheeks and the jaw...
but they also moved, in some cases,
the brows of the eyes and the ears.
Summer days playing catch?
Take your brother outside
and toss around the old horsehide.
Yeah, what do you say, George?
You ready?
Are you all nuts?
Bicycles and bowling balls?
The animation...
The animation for the cats
was conventional only in the sense...
that key frames were used
to position the jaw...
or the nose or the eye,
in terms of where it was meant to go.
But because the cat's fur
had to go...
back over the model of the object
that was being animated...
this work was done also
in a computer.
And the surfaces which you see
are a mixture...
of fur that was created in
the computer and added to the surface...
and what's called texture mapping...
or basically a projection of the real
cat's fur back onto the surface.
It's actually a very sophisticated
technique, and it's very, very difficult.
Rhythm & Hues mastered it
through the different Babe movies.
It really involves making an
extremely accurate model...
in the computer of every cat
that talks...
then making sure
that the interior of the mouth...
and the size of the teeth
also look convincing.
So it's in many ways as difficult
as a Stuart shot, in some sense.
I feel an empty space inside me...
One of the things
that was tough about Stuart...
was to make our white character
have the right contour and shaping.
In order to see his expression,
you have to see the shapes of his face.
In order to see the shapes of his face,
you have to have a dark and light area.
What we found out, however, was that
if you didn't make white surfaces...
some place on the character's head,
he looked like a grey mouse.
He was very difficult to light
and to keep within the boundaries.
If you made his head too bright...
you'd lose the detail
in the highlight area.
If you made his head too dark,
he'd go grey.
So it was a very tricky balance
fitting him into each scene...
making sure the light sources
looked as though...
they were the same light sources
lighting the other subject matter...
and keeping his
white balance right...
without him looking too bright
or too dark.
You also had to make
sure he looked furry enough.
Even though in the
computer-graphic model...
he actually has, you know,
600,000 hairs on his head...
sometimes when Stuart was smaller
in the frame, he looked...
We'd get comments
that he looked too smooth.
And we'd have to go in and cheat.
Usually we'd brighten
the rim light up...
the light would basically brighten
the hairs on the side of his head...
and give the sense
that he was furry...
even though
you actually couldn't see hairs.
One of the things we did,
in some cases...
Well, Stuart had different levels
of detail for different sizes.
In the extreme close-ups
we had to treat his fur differently...
than we treated his fur
in the wide shots.
And in some cases, we'd made his fur
more coarse when he was smaller...
in order for him to...
The fur to be more visible...
along with the rim light issue.
You and I got off on the wrong paw.
This shot here is the one where
the mouse walks across the floor.
And my daughter looked at it
and said, "He slides."
My 11 -year-old daughter,
who doesn't do visual effects...
as a avocation or otherwise...
had that perception
that all kids are graced with...
and she intuitively saw
a mismatch in our match move.
Let me in! I'm starving!
Match moving is something
that played an important part...
in making this movie successful.
The ability to move the camera
without having to record the motion...
as you do with conventional
motion-control photography.
And to be able to extract that camera
motion from the original photography...
to use to photograph the CGI object
that's going to be put into the scene...
allowed the filmmaker
to have that same...
intuitive approach
to making the movie.
If the actor wanted to move
more rapidly on one take...
or more slowly on another,
you could do both of them...
without having to slow
the entire process down...
to insert this mechanical monster
of a motor-driven camera system.
Plus, shooting cats,
cats move around a lot.
You always keep the camera wild
and it kind of takes the curse off.
It used to be that effect shots
were always locked-off cameras.
You could always spot
an effects shot before it came on...
because the frame
would become still.
But here,
if you watch the whole movie...
most of the shots have the camera
always doing some slight adjustment.
It keeps it...
Gives it this much more realistic feel.
Do you know anybody?
I'm not so happy with mine.
So all these cat shots here were done
with this 3-D projection method.
And all it needed was creation
of the 3-D mouths and actual whiskers.
The thing about it is you actually
have to paint out the original whiskers...
then after you animate, the whiskers
gotta move how the cheeks move...
so then 3-D whiskers are put back
on top of it.
Forgot to thank you.
Hey.
There's even cases where the
expressions in the face or the eyes...
the eyes open too much...
and you actually have to put CG,
computer-graphic eyes in.
So these... The cats are a blend
of all kinds of techniques.
Say, they're really putting
some wild prizes in there, huh, Monty?
Oh, hello.
You must be a friend of Snowbell's.
I'm Stuart.
- Aren't you gonna run?
- Why?
Because you're a mouse.
I'm not just a mouse.
Stuart has several
different costumes.
And each costume had to go through
a procedure of testing...
and then evaluation
and then modification...
till we came to our final decision.
I think that this sweater that
the mouse is wearing here...
probably took the longest of
any article of clothing Stuart wears.
I don't know for sure, but I think
it's something like six months?
This sweater,
which looks pretty generic...
but initially he had a V-neck sweater.
A sweater that had a T-shirt underneath.
He had much more, I guess,
a cowl neck sweater.
He had a cardigan at one point.
We also went through different colours.
It was orange, it was tan.
- It was...
- Big stripes, little stripes.
We finally arrived at this one here.
That had to hurt.
In case you didn't notice...
the cat that's flying through the air
is not a real cat.
No cats were hurt in the filming
of this movie.
We actually had to put
a real cat's face on a flying...
A little stuffy cat, basically,
we threw at the camera.
A stuffy is a puppet-like
rag version of the cat.
Actually,
I think it was basically a cat doll...
that someone found at a store.
Jerome very carefully threw
the cat through the air at the camera.
And then subsequent to that,
we added the face on.
Interesting about the cats...
it's true that no cats
were injured during filming...
but cats do one thing,
which is whatever they wanna do.
And it's not unusual to have a cat
simply refuse to work any further.
And so there were duplicate cats,
and if you watch carefully...
you can actually see Snowbell
change his facial features.
Because although the cats
were very close matches...
they're not exact matches.
So when a cat basically got full...
because that's how
you motivate cats to work...
you give them food.
And when a cat got tired
of being hungry...
he went in his cage
and they'd bring a new one.
Sometimes they didn't look
exactly the same.
What's it look like, picklehead?
Could we play with it? Please...
This was the basement set
of the Littles' house. It's a great set.
I wish...
I would've liked to feature it even more.
Somebody help me!
This is the longest tail you'll
ever see a mouse have.
In this case, actually,
we had to do something special...
because his original tail
wasn't built to be that long.
And they came up with a scene where
his tail had to be 10 times longer.
So just like if you were building
a real puppet...
we had to go back in
and design a new tail for him.
There's the famous red car.
Again, in terms of this 2 percent...
that makes a difference between
reality and a stylized character.
The reflections of the mouse in the car.
His shadows on the surfaces.
The way his clothing interacts...
with the surfaces that he comes
into contact with...
are all critical
in terms of fooling my daughter.
The 11-year-old.
And the miniature car...
was built to have
a suspension system...
and the door would actually open.
We put this little gag in
where the car would actually...
depress a little bit.
Oh, that.
That's the Wasp.
The shots where Stuart
is in George's hand...
or later on in Hugh's
or Geena's hand...
those were the hardest to do...
because they're difficult to
match-move, as John was talking about.
Match-moving is really rebuilding
in the computer, the real camera.
And in this case also,
you have to, in essence...
animate the person's hands...
to make sure that perspective
and everything matches.
So when Stuart's sitting in the hand...
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9岁的乔治这天迎来了一个弟弟——小白鼠斯图亚特。这是他爸爸妈妈从孤儿院领回来的可爱精灵,会说话,有智慧,并且很希望有自己的家。然而,乔治却不喜欢斯图亚特,不愿意和他作伴。斯图亚特为此颇为犯愁。更令它处境不妙的是,它成为了肥猫眼中的佳肴,在虎视眈眈下过着冒险的生活。
乔治参加了一个航模赛,但是他却一路遭到挫折,先是父亲没能帮他做好模型,当模型好不容易做成了,遥控器却在比赛那天被别人踩坏。在乔治每一次陷入困难的时候,正是斯图亚特机敏勇敢的出手相助,让乔治顺利过关。斯图亚特努力的付出,终于被小乔治接纳,这只小白鼠在乔治家中得到了温暖的归属。
导演: 罗伯·明可夫
编剧: M·奈特·沙马兰 / 格雷戈·布鲁克
主演: 迈克尔·J·福克斯 / 吉娜·戴维斯 / 休·劳瑞 / 乔纳森·利普尼基 / 内森·连恩
类型: 喜剧 / 家庭 / 奇幻 / 冒险
官方网站: http://www.stuartlittle.com/
制片国家/地区: 美国 / 德国
语言: 英语 / 荷兰语
上映日期: 2000-02-16(中国大陆) / 1999-12-05(美国首映)
片长: 84分钟
又名: 一家之鼠超力仔(港) / 一家之鼠(台) / 一家之鼠小史都华
精灵鼠小弟 Stuart Little (1999) 全部台词 (当前第3页,一共 9 页)
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