The continuous development of virtual technology has enabled technology to become a special "brush" that can create scenes that transcend material reality, and has also led to Shen Ying not only being a form of painting, but also absorbing elements of painting in movies that transcend painting.
In particular, virtual technology can achieve the setting of scenes that transcend material reality. Scenes, as spaces presented in movie narratives, become virtual spatial entities for virtual technology to create story narratives. This kind of surreal scene is even part of the story itself. With the help of virtual technology, we can create fantasy afterlife fantasy scenes that transcend realism, especially by constructing scenes based on material reality.
01 Construction of Wonderful Scenes
Virtual technology utilizes digital technology as a subset technology to perfectly create scenes that are different from the real material world. The virtual images presented by digitization are all composed of digital symbols. Even the real photography part is recorded by digital cameras such as "0" and "1", and various mathematical models are used to efficiently create virtual models under digital technology, which can generate two-dimensional and three-dimensional images.
This computer-generated image greatly promotes film synthesis and also forms the basis for simulating the real material world. It synthesizes image information from different sources into the same lens. The source of this image can be directly captured using a digital camera, or it can be produced through simulation, becoming a certain layer in the same image sequence, and creating a virtual world of images that does not exist in reality.
The Avengers: Final Battle uses virtual technology as the "brush" to "draw" spectacle scenes with "motion", while the spectacle scenes constructed in "Alita: Battle Angel" are also built on the virtual technology "brush".
Mechanical technology is highly developed, and biological science and technology can perfectly solve the integration of the human body and machinery. At the same time, cities can transcend the gravity of the Earth, suspend in the air, and form a rule over the underlying machinery. Mechanical simulations of human life scenes are also built on highly developed technology, as if depicting the future information technology era for us.
In the life scenes of post human society, virtual technology fundamentally innovates the early visual deception methods of movies in a brand new way, coordinating numerous elements to construct persuasive spectacle scenes, and creating a highly illusory spectacle. The same technique is also demonstrated in "Jurassic Park", showcasing the already extinct dinosaurs and their fictional life scenes to the audience.
The spectacle virtual scene constructed in the movie "Alita: Battle Angel" has continuity, and the synthesized image opens a new page in the history of visual simulation. The setting of the spectacle scene is different from the images in reality, and computer-generated images can be synthesized into real shooting, and vice versa. At the same time, the simulation of this spectacle scene is also based on the audio-visual language of the movie, with seamless spatial synthesis.
Throughout history, artists and skilled craftsmen have focused on creating a single image, using techniques such as painting and sculpture to create a credible single image. The spectacle scenes set by virtual technology, which transform continuous fictional and realistic scenes, are seen as a new means after painting, photography, and photography, to create continuous images for scenes that do not exist in reality, And it forms an organic whole.
The spectacle scenes produced by virtual technology bring a new paradigm, and the construction of these spectacle scenes has become one of the most attractive elements of film composition, becoming a practical strategy for the application of virtual technology in film narrative scenes.
02 The Scene of Ideological Implication
Scenes are often the necessary carriers for the occurrence of a story, and it is precisely in such scenes that the main body accompanies the body in the story that it can operate. Scenes are considered to have a natural relationship with the film narrative, and as a part of the film, the scenes inevitably carry the thoughts of the film creators on space.
French philosopher Gaston Bashira constructed the "poetics of space", in which he believed that space was not a material container for objects, but rather a happy dwelling place for human consciousness. And this fantastic virtual scene also truly constructs a certain consciousness of humanity.
This fictional scene of wonder is a material perception. As Katherine Heller once said, "virtuality is a cultural perception of material objects being penetrated by information patterns. This determines that virtual spectacle scenes bear important responsibilities.
The movie "Number One Player" showcases a virtual scene of immersion. In the opening minutes of the film, the protagonist puts on VR glasses and enters the virtual world "oasis", flying in the sky with a flying gameplay and shuttling through different spatial bodies, creating a strong sense of immersion, presence, and stimulating emotional resonance. Similar scenes are also seen in "Alita: Battle Angel".
Displaying the virtual scene set to the audience, images can create an illusion of the object being directly present, which is endowed with the significance of dissemination value. In the film "Alita: Battle Angel", the architecture and mechanical structures in the scene have expanded from pure visual and aesthetic aspects to semantic and cultural fields. High quality images and magnificent scenes have already established the urban cultural characteristics of the post human era, This kind of scene greatly surpasses the scenes in the real material world and has the ability to carry more consciousness.
In the process of setting up virtual spectacle scenes, the simulated scenes and concrete abstract atmosphere carry ideology. For films such as "Top Player" and "Alita: Battle Angel", the beginning of the movie often explains the background of the story and uses super realistic virtual architecture.
"Draw" this scene, which contains the unique geographical temperament of this era, in order to render specific fictional scenes and collective imagination, so as to create an emotional tone consistent with the story background, mysterious excitement and other atmospheres, especially in science fiction movies such as cyberpunk, typical neon lights, billboards with Southeast Asian style, night scenes and other elements are replaced with symbols of virtual construction, Jointly construct a scene that carries cultural forms.
03 The scene "stretching" of "super realism"
Since the 1990s, George Merier, the father of computer graphics, has devoted himself to the rapid development of three-dimensional computer graphics technology and graphics technology in photographic realism. Until now, the virtual technology formed is enough to complete the arbitrary construction of scenes.
The scene constructed by virtual technology breaks free from the replication of objective reality and utilizes computer technology symbols to generate surreal scenes according to certain logic. The images formed by this scene present more significant authenticity and diversity, and are a fictional scene space. Space is an abstract, flowing, and free concept. The scene carrying narrative responsibilities contains emotions, characteristics, and atmosphere.
Virtual technology creates surreal scenes, promotes the "extension" of the scene, and forms a fictional "world", and the setting of such scenes. It can be constructed infinitely, but the scenes set up in the studio are limited by the space of the studio and do not have infinity. The scenes set up by technology have interactive capabilities, and with the help of the UE4 virtual engine, virtual interactive scenes can be constructed in a short period of time, and it is a complete system, just like a game.
The scenes set by virtual technology go beyond the scenes in real matter and are an extension of the scene. This kind of scene has interactivity, wonder, and carries a certain ideology. With the support of virtual technology, the scene can be created arbitrarily, as long as it is reasonable.
Virtual technology supports the transcendence of time and space imagination in movies, enabling past "imagination" or "illusions" in the mind to become visible images, causing changes in the film's time and space. With the support of virtual technology, this "imagination" becomes "reality" and also constructs the narrative space of the movie.
Virtual technology, like a "paintbrush," transcends time and space imagination to create various scenes. This kind of scene transcends the scenes recorded by cameras in the real material world, and its roots stem from the absorption of painting elements in movies: light and motion. Virtual technology also has the ability to implement these elements.
As a virtual technology of some kind of "paintbrush", it supports the creation of imagination beyond time and space, or rather creates a certain kind of vision. This kind of vision is enough to present the "unexpected encounter" of the film creator, and the audience only needs to use "seeing" to perceive the existence of the film.
Virtual technology has achieved a poetic visual expression in movies. Rather than using a magical means to reproduce "reality", virtual technology "draws" visible images in an artistic way based on the creative subject's ideas, and builds the narrative scene of the movie on this basis. At the same time, this "drawn" visible image also maintains a connection with "reality".