Phantom of the Opera is a 1943 American horror film directed by Arthur Lubin, loosely based on Gaston Lerouxs 1910 novel The Phantom of the Opera and its 1925 film adaptation starring Lon Chaney.Produced and distributed by Universal Pictures, the film stars Nelson Eddy, Susanna Foster and Claude Rains, and was composed by Edward Ward. The first adaptation of the source material to be Eberts Great Movie review of 'The Phantom of the Opera' (1925) is online at rogerebert.com. My wife and I saw the movie last night and were enthralled all the way through, the costumes and scenery were superb, and we both thought the performances were excellent. So along comes this movie and I was not sure what to expect, before going I said to friends that if it was half as good as the stage show then it would be marvelous, well it exceeded that - I would rate it at about 80% myself.
Phantom Of The Opera 2004 Full The PhantomDirector Joel Schumacher brings Andrew Lloyd Webbers haunting love story, Phantom of the Opera,to the screen with the grand scale and elaborate production values of a classic opera production. First pressing of 1000 numbered copies on red & black mixed vinylThe Phantom of the Opera is the soundtrack to the 2004 Andrew Lloyd Webber film-adaptation of the musical, The Phantom of the Opera.In 2006, The Phantom of the Opera won the Japan Gold Disc Award for "Best Soundtrack Album of the Year." Chart-wise, the album performed fairly well, reaching the top position of Billboard's soundtracks chart as well as the sixteenth position on the Top 200 chart. It was also certified Platinum in the US and Gold in the UK and Greece. Free Streaming The Phantom of the Opera in Top Video Format Now you can watch full The Phantom of the Opera in best video format with duration 143 Min and was published in and MPAA rating is 159.For senior visual effects supervisor Nathan McGuiness, owner of post-production house Asylum in Santa Monica, California, which completed more than 150 shots for the film, including the breathtaking opening in which a postcard comes to life.Phantom was shot in London with no studio being large enough to accommodate the 40-foot long falling chandelier the story required. David Jones supervised the work in the U.K. Provided the bulk of the visual effects for the movie, including miniatures, tracking camera moves, compositing and rough previs. It enabled us to control and maintain the director and director of photographys vision. With lustre, what you see is what you get on film. We used lustre to time all the visual effects shots in The Phantom of the Opera, in order to create continuity. An art department liaison served as model unit art director to keep continuity between the departments.For the exterior shots, the art department in reality only built the square and entrance of the Opera House. Working out of the Cinesite Shepperton facility, model supervisor Jose Granell collaborated once again with production designer Anthony Pratt to accomplish the director and designers vision. They were also used to create a chandelier element using both the real and miniature chandeliers for the most violent swinging during the interior destruction. Granell thinks that most audiences will fail to notice the miniature work. That was done primarily for the flame, debris and glass window elements that worked better at the larger size. For the ending, when the fire blows out the glazed windows, 1/4-scale window elements were match-moved and then were reduced down and tracked into the 12-scale model. There was a 1/4-scale chandelier that was used in the transformation of the chandelier from its damaged state back to its earlier glistening glory. A majority of the models were built at 12-scale. Every inch of the exterior façade had some form of architectural detailing gilding, elaborate sculptures, cornices and moldings. Something is going on.The greatest challenge in building the miniatures was the shear amount of detail. The things that suggest it to the industryyour peers look at a shot and they see that camera move is vast, so they know its probably not for real. Even looking at them yourself and its your own work, you wouldnt really know. ![]() Our job is to take a look at the way they light sequences, the style that they use, the types of moves that the director stylistically tends to go for and then use their approach in our part of the film.Much of the live-action shots were done on a crane. In a perfect world the main unit would be shooting everything themselves, but they dont have the time to do that. At least thats how I like to work. Ideally people shouldnt notice your signature on the shot. You hope that you are able to create moves and to light in a way that is totally sympathetic to the main unit director and cinematographer, so youre not going off on a tangent and start creating your own version. Or unsteady, I should say. It was the equivalent of a big Steadi-cam shot. Granell explains, In one scene the camera was flying down a wire. Programs like adobe acrobat for macThe data he received from Maya was given to motion control. From the selected takes of a shot, main unit dimensions and model dimensions were determined.Cinesite 3D supervisor, Andy Bull, worked on set. The Cinesite team used 3D Maya to track the moves. When these camera moves needed to be extended in the miniature shoots, they were tracked at the Cinesite digital facility. It was an invaluable tool for Granell, Wed take over the move to make the shot last longer. It was used for the model unit to previs their own shotsto check out the camera moves that they needed to mimic in order to extend the original camera moves. By the time the model unit was scheduled to shoot, a fairly detailed three-dimensional wireframe of the Opera House had been created. But there were certain pitfalls that the team had to be careful to avoid when working with models.The 3D team came in and took key dimensions and measurements from the miniature of the Opera House as it was being constructed. Data recovered from the tracked move allowed the miniature unit to duplicate scale moves on the 12-scale miniature. Then you get on the set and suddenly you realize when you go to playback a scale move, your camera ends up outside the stage. I have heard of instances where people built miniatures and no ones paid attention to scale. It gave us an idea of how far back we would have to track on that model and how high we had to rise above it. If a hand-held camera is used on set, then a hand-held camera can be used with the scale miniatures. Although it is done at a smaller scale, it is done in the same manner as if it were done during the live-action shoot. The benefit is that the shoot is done using all real elements. The use of miniatures is a decision the production has to make which is not always practical in the real world. When the 3D digital department received miniature shots for compositing, they used the beauty shot as a guide. The realistic techniques used in a miniature shoot are generally more likely to look real by the nature of their limits and the comparable limits of live-action shooting.However, the computer has become a standard method for finishing. The computer can do more extreme movesfrom outer space all the way into an extreme close of an eyebut these moves by their very nature can lose a sense of reality. She is a member of the Motion Picture Editors Guild. She has worked extensively in feature film and documentary post-production with credits as a picture editor and visual effects assistant. Thats the way weve been working for a long time.Mary Ann Skweres is a filmmaker and freelance writer. Granell concludes, Effectively, it gives them total control in post-production, which is the accepted way now. This allowed them to dial in higher or lower exposure values for all the different elements.
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