Dragon Ball

[kelen]

Te postery co dales, to to sa chyba okladki do ksiazeczek dla mlodszych na podsatwie filmu.
Czyli wychodzi na to, ze Goku to polaczenie postaci i Goku i Gohana (watek z uczeszczaniem do szkoly i 'wole se isc na impreze zamias zostac z dziadkiem)

[Mihcim]

Poprostu doznalem szoku jak zobaczylem screeny z GRY?!!

[kelen]

http://www.youtube.com/watch?v=74lovOY4gNc&e
Bardzo fajny film porownawczy.

[Maxie Zeus]

W sieci są dostępne dwa nowe spoty DB:Evolution. Jeden francuski i jeden japoński. Muszę powiedzieć, że wygląd smoka Shenlonga jest trochę niepokojący.

Kolejne artykuły:

The Design of Evolution

The unique look of the film's action scenes complements its art direction and cinematography. Production designer Bruton Jones, along with visual consultants Richard Holland and Bruce Crone, referenced the Dragonball manga and anime, as well as a melting pot of styles reflecting the film's multicultural, past/future reference points. The Dragon Temple, for example has Russian, Japanese and Chinese architectural influences.

Before production started, director of photography Robert McLachlan tested various film stocks before going with Fuji, which helped provide the heavily color-saturated look he was after. The color saturation adds to the intensity of the film's solar eclipse, which in the story signals a potentially cataclysmic event. "We wanted our eclipse to be much more surreal [than a typical solar eclipse], with weird, intense, reddish colors," says McLachlan.

Ariel Velasco Shaw oversaw the film's many and varied visual effects, including the energy force known as Ki. Harnessing the power of Ki is one of the central tenants of Eastern philosophy – and connects the incredible goings-on of Dragonball to our real world. In the "air bending" technique of Ki, the practitioner pushes out from his or her chest, causing the air around them to ripple with distortion – and the ensuing energy force to impact their opponent. Ki is so strong that it draws the power of the universe as it is channeled through the practitioner skilled in its technique. Its ultimate manifestation is Goku's "Kame-Hame-Ha" move.

Velasco Shaw and his team created various, character-appropriate forms of Ki. For example, a human character would possess a different Ki than an alien or a human-alien hybrid. Moreover, there's a "younger" Ki for the more youthful characters, and an "older," more developed Ki for Roshi.

The iconic and mystical Dragonballs were largely the creation of the visual effects team. "Everybody had an idea about what they should look like and what they needed to do," Velasco Shaw says. The Dragonballs, courtesy of some intensive CG magic, have an otherworldly luminescence befitting their numinous properties.

Velaco Shaw also oversaw the two fully-realized CG creations: the monstrous creature Oozaru, as well as the Fu Lum, demon assassins, who regenerate when dismembered.

Alec Gillis and Tom Woodruff, Jr., principals of one of the industry's top special makeup and prosthetics houses, Amalgamated Dynamics Inc. (ADI), designed and created the prosthetic makeup for Lord Piccolo. The sophisticated prosthetics for Lord Piccolo, designed by Gillis and Woodruff, were applied by prosthetic makeup artist Edward French.

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The Locations of Evolution

"DRAGONBALL: EVOLUTION" began production in Mexico City, where a private, ultra-modern school stood in for Goku's high school. More than one hundred students were used as extras filling in the classrooms, parking lots and hallways. A sprawling private mansion in an exclusive residential area with English Tudor and Asian architectural elements was utilized for a high school party scene. An area within the city limits became Paozu City, where Roshi lives in a shack situated amidst towering skyscrapers.

After six days of filming in Mexico City, the production moved to Durango, Mexico, where the rest of the filming took place. "Durango has the spectacular outdoor locations including the high mountains, rock formations and deserts we required," says executive producer Tim Van Rellim, who had worked on a film production in Durango a decade earlier. The production transformed an abandoned jeans factory with a million square feet into a working studio production facility with office, storage and mill spaces, along with a wardrobe warehouse, practical soundstages, and a ten-acre outdoor area that was turned into a backlot for outdoor sets.

High mountain desolate rock formations at Mexiquillo became the secret Toi San training facility.  Over 200 local Durango martial artists and their instructors were recruited and transported to the remote location for a big martial arts training scene. The cast and crew faced daily extremes in temperatures from chilly early morning lows of 30 degrees (Fahrenheit) to hot afternoon highs of 80 degrees (F.), as well as occasional dust storms fanned by windy conditions. Later in the shoot, the filmmakers utilized a major recreation facility in Durango as the location for the Toi San Tournament competition arena. One thousand extras filled the structure, cheering the action.

Los Organos State Park, with its spectacular rock formations that resemble church organ pipes, became the setting and inspiration for the story's Dragon Temple, where pivotal action set pieces where captured. Towering desert sand dunes, called "Las Dunas De Bilbao," north of Durango, were used for traveling scenes and as the exterior of a desert cavern in Yamcha's habitat.

The Toi San marketplace was realized out of a grain storage facility from the 1800s that was found just outside of Durango. New architectural elements were added and then enhanced by set decorations mixing Middle Eastern elements with a flea market atmosphere.

Interior sets constructed and housed at the Jeans factory production facility, included the two-story interior of Roshi's shack, a 20 foot high cavern interior, the Toi San Temple courtyard and corresponding interiors, Lord Piccolo's Genesis Chamber and dirigible, as well as the green screen sets.

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Figurki i plakat:





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Wywiad:

DBthemovie: Were you (or the team) familiar with Dragonball before this film?
Ariel Velasco Shaw: Yeah, I have a 12 year old son, Milo who is a huge fan. I have always loved the series as well. It's funny how excited the Visual Effects Houses were to get on the movie. They would do these Ki Energy tests where the CG artists would throw the Ki and then put in their incarnation of the effect.

Q: In the anime, everything seems to be bright and vibrant with fluffy cloud-filled skies. I noticed that, in the trailer, the scene with Gohan training Goku is very similar. Does that [scene] represent the overall look of the movie?
A: What I love about the look of the film is that it arcs from a terrestrial (earthly every day look, albeit, bright and hopeful) to something that is foreboding and other worldly. We went through a look development process (Look Dev) where we had our VFX houses develop the arc.

Q: Some fans were confused that the "Kame Hame Ha" [in the trailer] was executed with one hand. Was this the actual "Kame Hame Ha" or just a "Ki" blast put in the trailer to not spoil it?
A: The one handed ki blast was just a shadow crane strike. Goku has a limited arsenal of energy blasts that culminates in a Kame Hame Ha. Roshi's arsenal is more powerful than Goku's, and Piccolo has many types of energy blasts that culminates in a Spirit Bomb. I gotta say, the energy fights are pretty cool.

Q: Do any of the characters have auras in the film?
A: Yes.

Q: If Dragonball: Evolution does well, are you up for working on a sequel?
A: This was a great project to be a part of. The cast and the crew were fantastic. The Fox VFX department is second to none on helping the process along. Of course I'll come back and join the party.
Posted on: 03 Luty  2009, 21:37:46
 Oto francuski spot. W 11 sec. widać oko Shenlonga. Od 29 sec. można usłyszeć piosenkę Ayumi Hamasaki ''Rule''.
http://pl.youtube.com/watch?v=MCccEAcKvH0

[Mihcim]

Podasz link do spotu japonskiego?
Co do spotu francuskiego troche sie usmialem na koncu jak tak kiepsko cos krzyczal goku Kamehame
jestem zadowolony z ze beda aury
e maxie to tylko oczy poczekaj na twarz!

[kelen]

http://www.youtube.com/watch?v=cZ2ND9ns_Lg

[Maxie Zeus]

No właśnie. Wyprzedziłeś mnie, kelen

[vincent]

dno, dno, dno, dno Niech oni idą się walić z takim Dragon Ballem. Wymiotować się chce...

[Mihcim]

Dobra Shenron nie wyglada zle ale...
mam nadzieje ze film nie bedzie skladal sie z bezensownego uzywania energi KI.
Chcialbym zobaczyc walke z krwia i czasem Kamehame !

[Leon Kennedy]

Akcja, akcja, akcja. Taki będzie ten film, a efekty są nawet zadowalające. Zatem ciągle czekam na tą produkcję.

czasem Kamehame

Tego na pewno nie zabraknie .

Chcialbym zobaczyc walke z krwia

Pewnie trochę jej będzie, a raczej powinno być...

[Huntersky]

Pewnie trochę jej będzie, a raczej powinno być...

Kija będzie, bo to film dla dzieci.
I pomyśleć, że pierwszy Indy był w PG.

[Filer]

bo nie było jeszcze PG-13.

[Juby]

Typowe kino rozrywkowe, może mnie zaskoczy jak Transformers. Nie wygląda to, aż na takie dno, ale komiksowi i tak nie dorówna.

[Huntersky]

bo nie było jeszcze PG-13.

To, co Indy wyprawiał w PG nie przeszłoby w PG-13 (mowa oczywiście o tym dzisiejszym PG-13 )

[Hydro]

Łeh, kiepski ten spot. Szczególnie ten smok, no kurrde, dno. Nie podoba mi się.