The creators size each robot based on the size of each vehicle they envisioned, which would make the form of camouflage chosen by transformers on Earth more reasonable. The concept of Tinder in the film is the idea of Roberto Och, who thought about why these aliens, who could transform into vehicles, needed other means of transport to get to somewhere. This reflects a desire to make the image of the Transformers more alien-like, unlike the heavy and large images of the first generation. Another factor that had a major impact on the design was the armor of the Japanese samurai, and the Transformers were originally toys of Japanese origin, so this factor also gave it the characteristics of the country again. The robots also need to look like aliens, or they will be too similar to the robots designed according to the image of people in other movies.
Decepticon tiger logo
The creators struck a deal with General Motors to provide most of the Autobots' morphing camouflage models, saving $3 million in production costs, and GM provided nearly 200 vehicles for destruction during the film's climactic Battle scene. The U.S. military provided a lot of support, which greatly enhanced the realism of the film: several F-22 Raptor fighters, F-117 Nighthawk fighters, and V-22 Osprey tilt rotorcraft appeared in the film, all three of which were used for the first time in filming; many military personnel served as extras in the film, and the military also provided the actors with real uniforms, in addition to the A-10 Thunder II attack aircraft and AC-130 air gunboats. Captain Christian Hodge joked that he had to explain to his superiors why the film's creators wanted to portray most of the planes as evil decepticons, but he also said, "Everybody likes bad guys."
Optimus Prime
Director Mike Bay filmed at Holloman Air Force Base
In order to save money for production, director Michael Bay took the initiative to take a 30% pay cut. He arranged an 83-day shoot program, and to achieve this goal, he made more shot adjustments per day on average than usual. Bay chose to shoot in the United States rather than Australia or Canada so that she could work with a familiar team that knew how she worked. On April 19, 2006, a pre-shot was conducted, and the main filming began on April 22 at Holloman Air Force Base, which showed the bridge section of the US military base in Qatar. In order to photograph the battle between the Saxon Giants and Captain Lennox at the White Sand Missile Range, scans were conducted to remove unexploded, and then a village was built, ironically, which was used to blow up. In the film, the pilot pilot of the airborne early warning plane improvises on the lines, as if he is really fighting a war.
The tin fires at the ground in a reaction to flip
The crew also filmed at the Hoover Dam and the Pentagon, the first time since the September 11 attacks that a film crew has been allowed to shoot in both locations. The exterior view of the Hoover Dam was taken before 10:00 a.m., when tourists usually arrive, and then turned inside the dam. The hangar used to imprison The Mighty Sky is built at the Hughes Aircraft Company in Los Angeles' West Side. The climactic battle at the end of the film was shot over six weekends in Los Angeles, with parts filmed on the Universal Studios location and Michigan Central Station in Detroit. The crew was also allowed to film at the Griffith Observatory, which has remained closed since renovations began in 2002. Filming ended on October 4, 2006. In addition, clips from Bay's previous film Pearl Harbor were also found to have been used in the film.
Spielberg encouraged Bay to limit the reliance on computer graphics of robots and background elements in action scenes, such as the bulldozer crashing into a passenger car, which is a live-action shoot, and the camera footage is placed in the scene of vehicle collisions and explosions to make the scene look more exciting. The traditional animation used in the film began in April 2005, and Bay said that three-quarters of the special effects in the film were produced by Industrial Light and Magic, and the rest were done by digital domain, including the discovery of Wei Zhentian in the Arctic, the bewildered severed head and the mutated shot of a vending machine activated by fire. Many animators are big fans of Transformers, and they do a number of freehand plays: the jazz jumping on the saboteurs in the film is a reference to a similar scene from the 1986 film Transformers.
Transformers make special effects
Industrial Light & Magic spent six months in 2005 animating computer-based robot deformations, carefully comparing every detail on the car model. At first, these deformation processes all followed the laws of physics, but were changed to be smoother because they didn't look exciting enough. Bay rejected the solution of using liquid metal for the character's face, and chose the "Rubik's Cube" style. He hopes to have more mechanical parts on the robot, which will make it look more interesting, realistic, dynamic and fast, rather than like a clumsy beast. An important decision in the stunt making process is to keep the wheels touching the ground for as long as possible, so that the robot can keep moving while deforming. Bay also asked the animators to observe two martial arts performances and footage from several martial arts films in the hope of making the fight scenes in the film look more beautiful.
Bumblebee makes special effects
Due to the complexity of the Transformer design, even a simple movement like turning the wrist requires 17 visual components, each gun in the tin sheet is composed of about 10,000 parts, bumblebee uses a panel to act as an eyebrow, multiple parts of the face need to rotate to show a smile effect, and the eyes of all characters are designed to be expanded and brightened. According to Bay, "these visuals are so complex that Industrial Light and Magic spent an astonishing 38 hours just to render one of the frames of motion," which meant the company had to add processing equipment. Every rendered part, whether shiny or not, had to look like real metal, which made model making difficult, as clean vehicles had to turn into old and scarred robots. Close-ups of the robot are sped up to make it look "cooler," but in wide-angle shots the animation needs to be slowed down to create a convincing sense of weight. Each set of shots was photographed to give the computer a reference to reproduce the lighting environment in order to make the robot look as if it were actually moving in such an environment. Bay, who has previously directed several automotive commercials, knows that ray tracing is the key to making these robots look more realistic, and how realistic the computer-generated models are depends on how reflected the surrounding environment reflects on these models. The robots are programmed to implant a variety of simulations so that animators can focus on animating the specific areas they need to make the shots look more realistic.
Steve Jablonsky, a composer who worked with Michael Bay on Escape from The Clone Island, first composed the soundtrack for the trailer for the film, and then composed the music for the film itself. Recording work on the track took place in April 2007 in Culver City, California. All the tracks use six themes and are about 90 minutes long. The Autobots have three themes, with "Optimus" representing the intelligence and kindness of the Autobot leader, and another played when several Autobots descend on Earth. Both decepticons and tinders have corresponding themes. Jablonsky's mentor, Hans Zimmer, also helped with the soundtrack creation process. #军事 #