Now that the plan has been discussed with Rivan Phoenix, Charlotte has also begun to prepare.

The first thing, of course, was to determine the shape of the Headless Horseman again

He came from hell,

Hand in hand, fear,

Nightmares under the seat,

Death followed.

This is the concept description of the Headless Horseman given by Mr. Director.

It's quite poetic, but if the makeup team relies on these few words to determine the shape of the Headless Horseman, it will be a fool.

According to the process of Hollywood's general commercial films, the process of modeling and designing such an important monster is actually quite complicated

First of all, the director or producer should combine the script and give the basic concept;

If the director's own drawing skills are sufficient, he can directly give a basic concept map, that is, a sketch;

After that, a professional artist will step in to expand the concept drawing into a line drawing, and then refine and fill in the line drawing to form the final original painting.

This process is often repetitive, because from the producer to the director and screenwriter, many people will review from multiple angles, and it is very normal to overturn and start over.

And even if the original art is completely determined, it will not immediately enter the realization stage.

The artists also need to give various angles and postures of the image according to the original painting, as a reference drawing for the production.

To a certain extent, this process is basically the same as the 3D character production process in the game industry.

However, in the later part of the implementation, the difference between the two industries becomes obvious

First, unlike the game industry, which relies mostly on computer-drawn images due to cost, the deep-pocketed film industry tends to be more inclined to use motion capture technology.

The former relies heavily on the 3D skeleton building level and movement adjustment level of the production staff, especially the imagination of the production staff.

The latter, although the technical difficulty is also not low, can be adjusted based on the captured real human movements, which is much more targeted in comparison.

Of course, there are also some movie crews that don't have money and can't afford to burn money with motion capture technology. But don't forget, there is another profession in the film industry, called makeup artist!

If you can't afford to play with tall motion capture, we can even make up real actors as monsters!

This is completely incomparable to the game industry.

After all, unlike movies that can be used after taking pictures, the 3D characters used in games are to be put on the computer and called up at any time according to the player's game progress.

The needs of the two are fundamentally different.

And this is not the fundamental reason why the monster shape of the two industries finally presents the difference between cloud and mud.

Especially when it comes to pure 3D monster modeling.

You must know that after the 3D model is made, it needs to be mapped to achieve the shape in the original painting.

Without these materials, which are called skins or textures, the 3D model is just a three-dimensional honeycomb made up of small meshes one by one.

And each time you paste a detailed part of the picture, you can think that the corresponding position has a face.

The more faces a 3D model has, the more detailed it is.

This is the same as the circumcision method used to calculate pi.

The more edges of the polygon are cut, the closer it is to a circle.

At this time, the 3D models of the game industry and the film industry are actually basically the same.

But when you think about the medium of broadcasting, the problem arises

There are many carriers of video games, but whether it is a mobile phone, a computer or a dedicated game console, the performance is limited considering the cost.

This means that there is a limit to the number of faces that can support the model.

If it is a single model, you can still use tens of thousands or even hundreds of thousands of faces, but considering that in the game, a large number of models and other particle effects often appear on the same screen, the number of faces will directly drop by one digit to thousands or even hundreds.

This is a helpless hardware problem.

If you want to force it, no matter how good and characteristic the game is, it will eventually become two "masterpieces"

"Graphics Crisis" and "Screen Horror".

Well, there's probably Pixel Wars.

In comparison, the 3D model in the movie is much happier

The large movie screen basically does not need to consider the problem of getting stuck due to too many faces.

It can be said that as long as the dedicated graphics workstation of the production staff can hold up during production, the 3D model can be used in the movie.

As a result, the 3D models used in the film industry have an order of magnitude advantage over the game industry in terms of the fineness of the number of faces.

This is the same as facing an army of 100,000 with hundreds of people with the same level of weapons and training, except for being crushed, there is basically no need to imagine other endings.

Of course, in 1995, 3D special effects technology and motion capture technology are still early to mature.

After the crew of "Guillotine Valley" did a good job in the design of the original painting, the method of bringing the ghost of the Headless Horseman into reality is still the most commonly used makeup technique in Hollywood.

It's just that

"It's not what I imagined!"

Looking at the Headless Horseman, who was made up by stuntman Rob Ingki, Charlotte was not very satisfied.

"I think that's good!"

It was Christopher Walken who spoke, the real Headless Horseman, or rather, the actor when the Headless Horseman still had a head.

Well, that's a bit weird indeed.

But according to the script, the Headless Horseman has a lot of action scenes of horseback riding and fighting. Ordinary actors can't play this, so action doubles are essential.

In particular, in order to reflect the horror of the Headless Horseman's life, that is, as a Hessian mercenary, Charlotte invited Christopher Walken, who won the Oscar for Best Supporting Actor, to play the role.

This famous Hollywood golden supporting actor has superb acting skills, even if he doesn't have a single line, he is estimated to be able to show the terrifying aura of the Headless Horseman.

But here's the thing

Born in 1943, Walken is currently 52 years old.

It is really difficult to expect him to be in action scenes in person at this age.

So, in "Guillotine Valley", the Headless Horseman actually has three actors starring Christopher Walken, as well as two action doubles.

Among them, Rob Inch, who is good at riding, is responsible for equestrian movements, while Raypark, who knows a few tricks of Chinese kung fu, is responsible for the ground combat scenes.

These two stand-ins were specially selected by the old gun according to Christopher Walken's body type.

In this case, it is normal for Walken to look at their outfits and give some advice to avoid goofs.

In contrast, the later "Avengers" is called an exaggeration

In it, in the action double of Black Widow played by Scarlett Johansson, there is a thin male.

Many of the action scenes in the movie that show the curves of Black Widow's body are completed by this women's clothing boss with prostheses tied to his ass and chest......

Of course, that is all a matter of later generations, and it has nothing to do with the current "Guillotine Valley".

Now, Charlotte thinks that the Headless Horseman's appearance is wrong, but it doesn't really mean that she can wear a goof, and there is nothing wrong with the details

In fact, the shape of this headless horseman, he directly borrowed the shape of the headless horseman in the original world version of "Guillotine Valley".

There is no difference between the two.

"But why do you still think something is missing?"

Mr. Director pondered.

Suddenly, his eyes lit up

"That's how it should be!!"