Raiders of the Lost Ark: Perbedaan antara revisi

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Second unit director [[Michael D. Moore]] filmed most of the truck chase. Spielberg had not used a second director before but agreed to it as the scene would take a long time to film being set in multiple locations. Moore completed wider shots where stuntmen stood in for Ford. He closely followed Spielberg's storyboarding but innovated a few shots Spielberg considered improvements.<ref name="Cinephilia"/><ref name="ASCMag"/> Stuntman Glenn Randall suggested the scene of Jones traversing the underside of the truck.<ref name="ASCMag"/> Ford sat in a concealed bicycle seat attached to the truck underside when clinging to its front.<ref name="Cinephilia"/> One of the convoy cars going over a cliff was a combination of matte painting background and [[stop motion]] animation of miniature figures falling out of the car.<ref name="ASCMag"/>
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=== Efek khusus ===
[[File:Ark of covenant replica.jpg|thumb|left|alt=A photograph of a replica of the Ark of the Covenant on display|A replica of the Ark of the Covenant on display in 2016]]
Lucas's [[Industrial Light & Magic]] (ILM) handled the film's special effects, under the supervision of Richard Edlund. The team worked on both ''Raiders of the Lost Ark'' and the dark fantasy ''[[Dragonslayer (1981 film)|Dragonslayer]]'' (1981).<ref name="Cinephilia"/> He felt special effects were a financially economical method of delivering a good film. As long as they are emotionally involved in the story, he said audiences would buy into even a poor special effect.<ref name="timeSlambangPage4"/> Spielberg liked practical effects because he could regularly check the [[dailies|raw footage]] during filming, rather than waiting months for the completed [[Compositing|composite effects]].<ref name="ASCMag"/>
 
Freeman said he had no idea what was happening when he opened the Ark. He was told to imagine something coming towards him and to scream.<ref name="EmpireOralHistoryPage4"/> Special effects artist [[Steve Gawley]] created the Ark's spirits by suspending small robed puppets in a clouded water tank in front of a [[Chroma key|blue screen]]. They were shaken to create a natural movement that was composited into the live footage. A Lucasfilm receptionist, dressed in a long white robe, was suspended in the air in front of a blue screen for the close-up of the ghost. She was filmed moving away from the camera and the footage was reversed to create an inhuman movement. Her visage was composited with a skeletal model for the monstrous transformation.<ref name="MentalFloss20"/>
 
Freeman, Lacey, and Kahler's death scenes were created using different models.<ref name="MentalFloss20"/><ref name="VanityFairToht"/> A mold was made of Kahler's face; it was lined with bladders filled with air. Controlled by up to ten people, the air was removed to make the head shrivel.<ref name="Cinephilia"/> Special effects artist [[Chris Walas]] sculpted Lacey's melting face using different colored layers of gelatin placed over a carved, heat-resistant stone skull. Propane heaters were used to melt the gelatin and filmed using a slower-than-normal camera so the effect appears to take place rapidly when played at normal speed.<ref name="VanityFairToht"/><ref name="ScreenRantToht"/> Belloq's head mold contained a thin-plaster skull filled with blood bags and detritus. It was blown up using explosives, shotguns, and an air cannon. It took three attempts to get the desired effect.<ref name="Cinephilia"/> Belloq's death was considered so extreme the Motion Picture Association of America initially classified the film with an [[R rating (Motion Picture Association of America)|R rating]] restricting it to those over the age of 17 without an adult. Flames were superimposed over the scene to conceal the effect.<ref name="MovieFone"/>
 
Kasdan scripted detailed montages during the transition between locations, but Spielberg saved money by showing a map and an animated line traveling between destinations.<ref name="ASCMag"/> Skulls and rotting bodies made by chief make-up artist [[Tom Smith (make-up artist)|Tom Smith]] filled The Well of Souls catacombs.<ref name="Cinephilia"/> To get the monkey to perform a [[Nazi salute]], the trainer hit it on the head to make it touch the affected area. When this did not work, the filmmakers hung a grape over its head to encourage it to reach up; it took 50 takes to capture.<ref name="EmpireOralHistoryPage3"/> A partially deaf rat was used for the scene of the ark humming in the hold of the ''Bantu Wind'', giving it a unique and unnatural head movement.<ref name="EmpireOralHistoryPage4"/>
 
== Rujukan ==