【导读】三年前，李安带来了世界上第一部 4K/3D/120 帧规格的电影《比利林恩的中场战事》，如今他在《双子杀手》上进行了第二次高帧率实验。但《比利林恩》和《双子杀手》的 4K/3D/ 120 帧高规格体验，似乎并没有像《阿凡达》一样开启 3D 电影的热潮……
Will Smith stars in Ang Lee’s latest film Gemini Man. SKYDANCE MEDIA
Are you looking for a visually thrilling film? Look no further than Gemini Man, directed by Taiwan director Ang Lee. It hit Chinese mainland cinemas on Oct 18 and rocked box offices on its opening day with a sales record of 40 million yuan.
People flocked to see the Oscar-winning director’s latest film because he is a game changer.
There is little unusual about the film’s story. A 53-year-old elite assassin, Henry Brogan, is suddenly targeted and pursued by a mysterious young man who seems to predict his every move. Many dismissively called the movie a typical Hollywood “popcorn movie” on the International Movie Database.
Even so, it was a good-looking popcorn movie, shot at 120 frames per second and presented in 3D.
尽管如此，这仍然是部好看的爆米花电影 —— 影片以每秒120帧的格式拍摄，并以3D版本放映。
Movies are made up of still images, projected at 24 frames per second. Our brains process these as one continuous image, so the images appear to “move”. For the past 90 years, most movies have been filmed and shown this way. Lee, however, has sped up the standard to capture more detailed motions, like the movement of a pair of eyes. This technology was first used in his 2016 film, Billy Lynn’s Long Halftime Walk.
“When I left this incredible experience, I was shaking and terrified, as though I had actually had that experience,” US film director Doug Trumbull told the IndieWire website.
Chinese film director Zhang Xiaobei said, “Lee is expanding the boundaries of film through technology.”
However, not everyone appreciates Lee’s efforts. Only a small number of cinemas all over the world have the equipment needed to screen Gemini Man at its intended speed. Many fans of cinema think that it’s unnecessary to make this change.
But Lee, 65, never slows his steps to create something new for film. “It’s a different media with different perception, different requirements,” he told IndieWire. “Digital doesn’t want to be film, it wants to be something else. I think we need to get past that and discover what it is.”