All the disputes surrounding the Oscars are all disputes for fame and fortune. Pen & Fun & Pavilion www.biquge.info

In addition to this, even the IRS intervened in the battle for fame and fortune for the Oscars, and they had to take taxes from the gift bags that the Academy gave to the award presenters!

Since 1989, the Academy has been giving away gift bags to Oscar guests, and since then it has become an Oscar tradition that in addition to the finalists, the presenters can also receive a copy to show their appreciation to the celebrity guests who attended the Oscars without compensation.

The tradition has become a multi-billion-dollar business amid commercial hype, and this year's Oscar package, which includes a diamond-encrusted bra and panties, a 22-karat gold leaf and a crystal-made mallet, is worth nearly $100,000, and that's just part of the bag.

Although the Oscar gift package is different depending on the person who is giving it, the content is also different, such as the $15,000 "Victoria's Secret" gold and diamond-encrusted underwear, which can only be obtained by the heroine finalist.

In addition to the gifts for attending the awards ceremony, the Oscars also specially prepared gifts for the winners of the actor and actress and director awards, which will be given away after the awards ceremony.

It's enviable that Hollywood stars attend awards ceremonies and receive gifts at the same time, but the IRS has focused its attention on taxation this year.

The day after the ceremony, the IRS said that stars who received Oscar packages must pay taxes on the gifts, and its spokesperson said in a statement that as the eyes of the world are on these stars, they should also know that they have the same tax obligations as the general public, and hope that these stars will be able to "go ahead" when it comes to paying taxes.

Only death and paying taxes are eternal.

In a country that started out in the fight against taxes, paying taxes is definitely a top priority, and although Murphy received an Oscar package that was casually given to the driver who provided his service, he still informed his accountant not to forget about it when he filed his taxes next month.

The reputation of the Land of Ten Thousand Taxes can also be seen from this gift package.

As the distraction about the Oscars subsides, Murphy throws the golden figurine, a golden man representing the past, not the future, into the safe and resuming his work.

He needs to continue to work hard in the future.

Post-production work on A Song of Ice and Fire: Game of Thrones continues.

Previously, Murphy had already completed the first cut of ten episodes with Joel Griffiths, temporarily handing over the finishing to the editors' team, and he rushed to the small city of Venice to supervise the production of special effects in the digital realm.

There aren't many images in the entire series that are actually generated by computer CGI special effects, and the three young dragons hatched by Daenerys Targaryen in the final episode are undoubtedly representative of them.

It's also one of the two most important special effects scenes in the digital realm for A Song of Ice and Fire: Game of Thrones.

According to Murphy's understanding, the dragon in Western legends is simply a large lizard with wings, or a dinosaur with wings.

Therefore, the special effects team referred to his requirements, and when initially designing the model, they referred to quite a lot of images of juvenile dinosaurs in "Jurassic Park".

But this is just a reference, if you want to make a memorable dragon, you definitely can't just put a pair of wings on the dinosaur, it needs to determine its core and skeleton on the basis of reference.

Murphy only proposes the vision and what should be achieved, and how to do it requires the refinement of a team of digital professionals.

The "carving" of the digital realm is done from the inside out, first with a skeleton, then with muscles, and finally with the skin.

Based on the core idea that Murphy's dragon is generally a flying dinosaur, they decided that the dragon's skeletal structure was similar to that of a bird, so in order to establish the dragon's original skeleton, the special effects team found the "easiest bird to find" - a chicken that had lost its hair.

This chicken, which has lost its life, is thus endowed with an important value.

The VFX team scanned it thoroughly, then attached controllers to key parts such as the wings to track the movement of bones and muscles as it moved, and then transformed it into a juvenile dragon's muscular movements as it crawled in the VFX software.

Observant special effects artists also found that when the chicken's wings were opened, the skin at the junction with the body was almost transparent, so when the dragon stretched its wings, it was also treated into a translucent film.

What this hairless chicken can provide to the special effects artists is the movement of the dragon's muscles and bones; And the appearance of the dragon is more of a headache for the special effects team.

In fact, in order to make the fictional dragon appear more realistic in appearance, the special effects team studied more than a hundred animals, and more than a dozen lizards were referenced just to find suitable skin textures and scales for the "baby dragon".

The dragon in the play is dynamic, and when interacting with the outside world, the changes in appearance also need to be kept dynamic, such as the dragon that breaks out of the egg, the state of the droplets dripping along the scales, and the various colors and reflections of the dragon's eyes and skin under different lights, all require the special effects artists to achieve the authenticity of every small detail.

Getting the winged lizard, Murphy assembled a team of up to 25 special effects to create the entire series' opening credits, and they needed to get it right from design concept to final result as quickly as possible.

"It's only 90 seconds at the beginning, so why not do something that can't be made in the feature film?"

Before the start of production, Murphy gathered all the production staff together for a short meeting, "and if it is done well, the audience can learn about the development of the characters." ”

The opening credits of a TV series can do a lot of things, in addition to being able to bring the audience into the plot, it can also tell the audience the information of the time and space that they are about to see, and they can create their own world.

In the beginning, everything was very simple, there were no animations, it was all flat stuff.

The special effects team worked as quickly as they could come up with an original opening script, with a crow flying from King's Landing to Winterfell, but Murphy always felt that it would make the audience wonder what kind of environment it was in.

The special effects team made five more maps, suggesting that they could be cut out in a different place in the TV series, which seemed to work well and made it clear where it was, but it seriously interfered with the narrative of the series.

This way of changing the map will have an extremely serious hindrance and interference to the narrative, and Murphy simply asks that the map be put in the opening credits and become part of the opening credits.

However, this also raises the question, what else is beyond the map?

Murphy kept thinking, the crew has enough budget and great technicians, he can do whatever he wants, what should he do at this time?

His choice was to create the most complex and elaborate map imaginable.

These will form the opening credits of the episode.

It's not easy to create the most complex and beautiful maps, and Murphy and the VFX team put in enough effort from design to production.

The first step is to create maps that move like real objects, and the family crest of the controller appears along with each map.

According to Murphy's concept, the artistic director of the crew, Helena Espora, referred to Leonardo da Vinci's mechanical design manuscript, which has a kind of eternal beauty, the world in the TV series looks simple and unpretentious, but there is also the complexity that can make it come alive, the emblems of each family must not be the product of modern society, and the things in it should be made of wood, metal, leather and cloth, anyway, they are all hand-made things.

The crew wanted to feel like the real thing, without feeling like a CG effect or some kind of magic camera.

Murphy thought that a camera with a motion control system should be used for the intro, and the main reason for using a motion control camera was to make it look realistic.

Later, Murphy had a sketch of the Red Keep, one of the main buildings in King's Landing, and the VFX team made a template for the Red Keep on the CG board and showed it to Murphy.

Murphy was satisfied, and the team of twenty-five began to get into shape.

Secondly, it is necessary to be faithful to the original work to a certain extent

By now that the work was underway, Murphy already had a map of Westeros and a hand-drawn map of Essos, both of which were beautiful and hand-drawn by George Martin, and the VFX team put them in Photoshop and resized them until they matched each other.

The size, distribution of locations, and boundaries all adhere to George Martin's original maps, and it's also important that Murphy tries so hard to respect the original, because he finds that since the project was conceived, after much publicity and hype from Twentieth Century Fox, like the Harry Potter series, "A Song of Ice and Fire: Game of Thrones" has become more and more fanatical.

It wasn't until April that the 90-second intro was actually made.

In the opening film, the astrolabe is constantly moving, moving around the hot center, and the heraldic on the astrolabe shows the history of the story, which is vivid.

Then, a complex map comes into view, looking down on the whole map through the eyes of a regulator, and as the gears turn, the city-states of nations emerge on the map, and wars and politics cause them to grow and change.

From the Red Keep in King's Landing to the Sacred Grove of Winterfell to the stormy Narrow Sea, the ninety-second opening will take the audience through the sky to see the Seven Kingdoms, which also implies a lot of the message of Game of Thrones.

Editing the intro into the finished cut episodes, adding a soundtrack and editing sound effects, the first three episodes of "A Song of Ice and Fire: Game of Thrones" are basically completed, and the next few episodes have also taken shape, but Murphy is not in a hurry, after all, the TV series is different from the movie, and it is completely possible to wait for the audience's feedback to come out before finishing the final work.

As the "Winter Approaches" date draws nearer, Studio Stanton and Twentieth Century Fox have stepped up their propaganda campaign. (To be continued.) )