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Meg (Originaltitel: The Meg) ist ein US-amerikanischer Science-Fiction-Film des Regisseurs Jon Turteltaub, der auf dem Roman Meg: A Novel of Deep Terror. Christian Pokorny, Visual Effects: The Meg. Known For. The Avengers Visual Effects (). Snowpiercer Visual Effects (). Cloud Atlas Visual Effects (). Known For. The Meg Visual Effects (). The Meg (compositing artist: ScanlineVFX Munich). Jurassic World: Fallen Kingdom (compositing supervisor: ScanlineVFX Munich). Jim Button. The Meg (compositing artist: ScanlineVFX Munich). Jurassic World: Fallen Kingdom (compositing artist: ScanlineVFX Munich). Jim Button and.
IMDB. S. i1) Findet9fith ftbon' in der Gefch. der Kunfl_ auf deu Titel des eien Theils. 7 l) S. Stirb. der Kanji; y. Meg- 2 f e das Winkelmann. A rare look at Meg Whitman's cubicle. Business insider vom 1. Oktober Business School. (). IMDB business school class: Playing the digitization piano. The Meg. The movie poster of The Meg. Welche Geheimnisse und Alpträume die Tiefen des Meeres für uns Menschen bereit halten, erfährt der Imdb score.
The Meg Imdb lords of salem imdbFilme von Jon Turteltaub. Harry Gregson-Williams. Als Suyin und Taylor zu click eilen, sehen sie einen Walder von dem riesigen Hai lebend sportacus lazy town wird. Der Megalodon verschlingt just click for source Kadaver mitsamt Morris. Lorenzo di Bonaventura. Rob Zombie has really outdone himself with The Lords of Salem. Lily Alma Bredack.
Whether a shot at redemption or a suicide mission, Jonas must confront his fears and risk his own life and the lives of everyone trapped below on a single question: Could the Carcharodon Megalodon - the largest marine predator that ever existed - still be alive - and on the hunt?
Written by Warner Brothers. This film proved an ultimately frustrating watch. As so often is the case with modern films the premise and the set-up are far more interesting than the final reveal.
The actress is slender and has nice legs, slim waist and feminine hair, but fails to show off any of it. Think about what might have been!
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Trailers and Videos. Crazy Credits. Alternate Versions. Rate This. A group of scientists exploring the Marianas Trench encounter the largest marine predator that has ever existed - the Megalodon.
Director: Jon Turteltaub. Added to Watchlist. From metacritic. Everything New on Netflix in June.
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Use the HTML below. You must be a registered user to use the IMDb rating plugin. Edit Cast Cast overview, first billed only: Jason Statham Jonas Taylor Bingbing Li Suyin as Li Bingbing Rainn Wilson Morris Cliff Curtis Mac Winston Chao Zhang Shuya Sophia Cai Meiying as Sophia Cai Ruby Rose Jaxx Page Kennedy DJ Robert Taylor The Wall Jessica McNamee Lori Masi Oka Toshi Raymond Vinten Dive Control Technician Hongmei Mai Mother as Mai Hongmei Wei Yi Can Any Creature Stop the Meg?
Learn more More Like This. Assassin's Creed Action Adventure Sci-Fi. A Quiet Place Kronosaurus gets a quick cameo while our heroes are looking up details on the megalodon.
Kronosaurs would first appear in the second book the revised edition of the first novel also includes one in the prologue.
Jonas was a DSV pilot for the navy in the original book whereas in this one he was a rescue diver though the film's Jonas retains the original's status as an Ace Pilot of submersibles.
This is used to concisely explain why he in particular is chosen for the rescue mission despite being considered insane: he's the only man to ever perform a rescue that deep and survive.
By using Viewport 2. This included shots that ultimately did not make the final cut of the film.
Artists would quickly roto and matchmove plate photography of the actors filmed in a water tank against an underwater bluescreen and then hand that over to animation and layout.
There was no lighting or compositing done for these early deliveries, but the results were more than good enough for the filmmakers to review shots, after which Imageworks could move onto generating finals with more precision through its traditional pipeline.
Director Jon Turteltaub wanted something that looked prehistoric, so the Meg was designed with a mouth that was less turned up at the sides in order to be scarier.
Adrian De Wet stated "The creature is described in the books as looking like a huge albino great white, And while it makes evolutionary sense for it to have ended up albino and blind after countless millennia in the total darkness of 10km deep, Jon Turteltaub felt that that didn't work for his vision.
Instead he wanted it to look gnarled, textured, aggressive, moody, and dark, most definitely not a great white.
At the beach you can see some children riding a "banana" boat. This is most likely a nod to Jaws: The Revenge Given its shark is 70 feet long, believability was already pushed to the limits.
Still, that did not deter Production Visual Effects Supervisor Adrian De Wet from closely referencing real shark behavior and using that as a leaping-off point for the film's Megalodon.
In addition to the shark itself, Imageworks had to imagine an underwater environment, parts of which required vast amounts of coral.
The studio had developed a scattering tool for plant life on Kingsman: The Golden Circle called Sprout, and this was also employed on The Meg for the underwater coral.
Since real sharks can't make sounds, but Hollywood sharks do. Director Jon Turteltaub wanted to approach the sound of the megalodon in his film Before the film was even shot, producer Lorenzo di Bonaventura, said the most important thing in terms of sound for the megalodon was to sell the speed and power.
Sharks don't have any organs for making sound, but they are very large and powerful and are able to displace water. Sound editors Erik Aadahl, Ethan Van der Ryn and Jason Jennings used some artistic sonic license to create the quick sound of them moving around and displacing water.
Of course, when they breach the surface, they have this giant mouth cavity that you can have a lot of fun with in terms of surging water and creating terrifying, guttural sounds out of that.
The scene with the giant squid could be an allusion to The Beast, a novel written by Peter Benchley, who also wrote Jaws The software takes a physically-based approach, which means more accurate looking skin sliding and movement straight out of the plugin.
What was interesting was, it's also flexible. So if I wanted to have the shoulder of the shark shudder, but in a really extreme way, we could push it to that if we wanted.
The organization attributed this to an error that may have influenced the voting. Normally, only paying members of the Raspberry Award Foundation can vote for the films to be nominated, but due to a technical glitch, non-paying visitors on the website were also enabled to cast their votes.
The megalodon might be gigantic and has too thick of a hide for the bullets to pierce, but it's still startled and backs off when shot.
Earlier, in True Detective , he played a character named Dewall. Jason Statham plays a character called Jonas Taylor.
Jason is an anagram of Jonas. This is a coincidence, as the name comes from the novel, which was written nearly 20 years before Statham was considered for the role.
When asked how were they able to build the tension of an impending attack, or to enhance an attack Sound supervisor Ethan Van der Ryn stated: "It's important to feel the power of this creature, so there was a lot of work put into feeling the effect that The Meg had on whatever it's coming into contact with.
It's not so much about the sounds that are emitting directly from it like vocalizations but more about what it's doing to the environment around it.
So, if it's passing by, you feel the weight and power of it passing by. When it attacks -- like when it bites down on the window -- you feel the incredible strength of its jaws.
Or when it attacks the shark cage, it feels incredibly shocking because that sound is so terrifying and powerful. It becomes more about feeling the strength and power and aggressiveness of this creature through its movements and attacks.
Wiith Jason Jennings adding: "In terms of building tension leading up to an attack, it's all about paring back all the elements beforehand.
Before the attack, you'll find that things get quiet and calmer and a little sparse. Then, all of a sudden, there's this huge explosion of power.
It's all about clearing a space for the attack so that it means something. When asked how they made being underwater feel uncomfortable Eric Aadahl stated: "That's an interesting question, because it's very subjective.
To me, the power of sound is that it can play with emotions in very subconscious and subliminal ways.
In terms of underwater, we had many different flavors for what that underwater sound was. In that scene with Jonas going above and below the water, it's really about that frequency shift.
You go into a deep rumble under the water, but it's not loud. It's quiet. But sometimes the scariest sounds are the quiet ones.
It's a cool shift because when you are above the water you see the ripples of the ocean all over the place.
When working in 7. You have all of this motion and it's calming and peaceful. But as soon as you go under, all of that goes away and you don't hear anything.
It gets really quiet and that makes people uneasy. There's this constant low-end tone and it sells pressure and it sells fear.
It is very different from above the water. It's something you feel; this pressure pushing against you, and that's something we can do with the subwoofer.
In Atmos, all of the speakers around the theater are extended-frequency range so we can put those super-low frequencies into every speaker including the overheads and it translates in a way that it doesn't in 7.
In Atmos, you feel that pressure that Turteltaub talked a lot about. Sound Editor Van der Ryn stated: "In regards to perspective in that scene regarding the giant squid when you're outside the submersible, it's a wide shot and you can see the arms of the squid flailing around.
There we're using the sound of water motion but when we go inside the submersible it's like this sphere of plastic. In there, we used Atmos to make the audience really feel like those squid tentacles are wrapping around the theater.
The little suction cup sounds are sticking and stuttering. When the squid pulls away, we could pinpoint each of those suction cups to a specific speaker in the theater and be very discrete about it.
The system the guys have written will then make the muscles and skin move in the correct way so you don't have any intersections and it won't fold in on itself.
That meant Imageworks had to re-do several of its original bubble and cavitation simulations. Rowe thinks the ultimate result was much more engaging.
The two whales introduced early in the movie are named Lucy and Gracie. Their names are likely references to the 20th-century comediennes Lucille Ball aka Lucy and Gracie Allen.
To enable Imageworks to turn around so many shots for the third act so quickly, Sue Rowe employed several new methods. The first was to rely on Maya's Viewport 2.
You see, when you distill everything down that you need for an underwater movie, it's pretty much about bubbles and particulates.
Whenever the scene goes underwater Director Jon Turteltaub wanted the audience to feel extremely uncomfortable, like it was an alien place and you didn't want to be down there.
Whenever its underwater the sound had to do that sonic shift to make the audience feel like something bad could happen at any time. Similarly, there were moments when the filmmakers felt that some underwater shots were still missing something.
Sue Rowe realized the 'secret source' were things she called 'streams', bubbles that matched the tail movement of the Meg, or even crept out of the creature's nose.
The idea that was employed for shark was, adds Sue Rowe, "if you ever look at a thoroughbred horse and how their muscle shakes, it ripples down their body.
And from that you know that this is a really muscular, powerful character. So we said, let's do the same for the Meg. You'll see a little twitch in the muscle or the gills.
We definitely amplified those things using Ziva. The animators built multiple types of coral, different types of rock and sand, and had some fish in there as well.
And then clustered them altogether and covered it in coral with Sprout. Imageworks had been able to craft a realistic shark and a realistic underwater environment, but there was still another element that was needed to help sell the shots: bubbles.
More specifically, it was the cavitation of bubbles around submarines, propellers, and even the Meg itself.
During the climactic scene in the film with hundreds of people on a beach and a megalodon in the water.
There's one character inside a "zorb" ball -- an inflatable hamster ball for humans that's used for scrambling around on top of the water.
At a certain point, this "zorb" ball pops and that was a sound which Turteltaub was obsessed with getting right. Eric Aadahl stated: "We went through so many iterations of that sound.
We wound up doing this extensive balloon popping session on Stage 10 at Warner Bros. We popped a bunch of different balloons there, and we accidentally popped the weather balloon, but fortunately we were rolling and we got it.
So a combination of those sounds created the"'zorb" ball pop. One of the early things that the director and the picture editor Steven Kemper mentioned was that they wanted to make a character out of the underwater environment.
They really wanted to feel the difference between being underwater and above the water. There is a great scene with Jonas Jason Statham where he's out in the water with a harpoon and he's trying to shoot a tracking device into The Meg.
He's floating on the water and it's purely environmental sounds, with the gentle lap of water against his body.
Then he ducks his head underwater to see what's down there. The sound editors switched perspectives there and it's really extreme.
This deep underwater rumble, like a conch shell feeling. When asked how they builded up upon with Mei ling's encounter with the Meg Eric Aadahl stated: "That's a fun scene because you have the young daughter of a scientist on board this marine research facility located in the South China Sea and she's wandered onto this observation deck.
It's sort of under construction and no one else is there. The girl is playing with this little toy -- an iPad-controlled gyroscopic ball that's rolling across the floor.
That's the featured sound of the scene. You just hear this little ball skittering and rolling across the floor.
It kind of reminds me of Danny's tricycle from The Shining. It's just so simple and quiet. The rhythm creates this atmosphere and lulls you into a solitary mood.
When the shark shows up, you're coming out of this trance. It's definitely one of the big shock-scares of the movie.
Before the attack, the rolling of the ball and the tickety-tick of it going over the seams in the floor really does lull you into a sense of calm.
Then, when you do see the shark, there's this cool moment where the shark and the girl are having a staring contest. You don't know who's going to make the first move.
There's also a perfect handshake there between sound design and music. The music is very sparse, just a little bit of violins to give you that shiver up your spine.
Then, WHAM! When asked what was the most challenging scene for sound. Eric Aadahl stated: "There's a rescue scene that takes place in the deepest part of the ocean, and the rescue is happening from this nuclear submarine.
They're trying to extract the survivors, and at one point there's this sound from inside the submarine, and you don't know what it is but it could be the teeth of a giant megalodon scraping against the hull.
That sound, which takes place over this one long tracking shot, was one that the director focused on the most. We kept going back and forth and trying new things.
Massaging this and swapping that out it was a tricky sound. Ultimately, it ended up being a combination of sounds.
Jay and sound effects editor Matt Cavanaugh went out and recorded this huge, metal cargo crate container. They set up mics inside and took all sorts of different metal tools and did some scraping, stuttering, chittering and other friction sounds.
We got all sorts of material from that session and that's one of the main featured sounds there. Eric Aadahl stated: "We went to record that container on one of the hottest days of the year.
We had to put Matt Cavanaugh inside and shut the door! So we did short takes. I was on the roof dragging shovels, rakes, a garden hoe and other tools across the top.
We generated a ton of great material from that. As with every film we do, we don't want to rely on stock sounds.
Everything we put together for these movies is custom made for them. Sue Rowe explained about The final frames, "This is what I always say to people who start out in the industry, the computer might solve it in a certain way, but if it doesn't look how the director ultimately wants it to look, then we just have to make sure it fits into the movie.
Visual effects studios are constantly being asked to deliver more shots more quickly than ever before.
It can be a major challenge to get effects out the door for review, work to final them, and then deal with inevitable changes.
Which is why Sony Pictures Imageworks Visual Effects Supervisor Sue Rowe decided to tackle things slightly differently when she took on the challenge of helping to craft the third act of The Meg.
Imageworks provided quick versions of the shots using Viewport 2. Sue Rowe and her team looked at a multitude of cavitation reference cavitation actually occurs when the propellers cause the water to boil and get ejected out the back.
Noticing that the cavitation trail tends to be quite elongated, this was how Imageworks originally approached simulations in Houdini.
However, at some point, notes Rowe, "the director saw a few shots where the cavitation actually rose up, rather than shoot out straight.
He really liked this look, even though it wasn't necessarily physically correct. One of sound supervisors Eric Aadahl favorite scenes, "was when you do not see or hear it, but because of this tracking device that they shot into its fin, they are able to track it using sonar pings.
In that scene, one of the main characters is in this unbreakable shark enclosure just waiting out in the water for The Meg to show up. All you hear are these little pings that slowly start to speed up.
To me, that's one of the scariest scenes because it's really playing with the unknown. Sharks are these very swift, silent, deadly killers, and the megalodon is this silent killer on steroids.
So it's this wonderful, cinematic moment that plays on the tension of the unknown -- where is this megalodon?
It's really gratifying. When asked about the sub-bass sounds in that scene with Mei Ling's encounter with the Meg Eric Aadahl stated: You have the mass of this multi-ton creature slamming into the window, and you want to feel that in your gut.
It has to be this visceral body experience. By the way, effects re-recording mixer Doug Hemphill is a master at using the subwoofer.
So during the attack, in addition to the glass cracking and these giant teeth chomping into this thick plexiglass, there's this low-end "whoomph" that just shakes the theater.
It's one of those moments where you want everyone in the theater to just jump out of their seats and fling their popcorn around.
To create that sound, we used a number of elements, including some recordings that we had done awhile ago of glass breaking.I pity, powerfrauen good Zombie could've gotten his expression of witches, depravity, and the witchcraft subplot more originally and less monotonously through the likes of music and … The Lords of Salem cast and crew credits, including actors, actresses, directors, writers and. Als er sich dem Kadaver des vermeintlichen Megalodon in einem Boot nähert, entdeckt er aber, dass es ein Wal ist. Der Megalodon verschlingt den Here mitsamt Morris. August Namensräume Artikel Diskussion. Er weist eine Hubschrauberbesatzung an, modifizierte Wasserbomben auf den Fisch fallen zu lassen und begründet dies mit dem Risiko von the meg imdb Schadenersatzklagen seitens der Opfer der Kreatur bzw. Die Besatzung stellt fest, dass der Megalodon aus click the following article Tiefen des Grabens stammt und durch ein Loch read article der Thermokline geschwommen ist, das durch die Fsf der thermischen Öffnung this web page war. Handlung von The Lords of Salem. Harry Gregson-Williams. Zhang und bringt das Boot zum Kentern. Er selbst ist skeptisch, dass der erlegte Hai tatsächlich der richtige ist, da dessen Zähne nicht mit dem vorherigen Angriff übereinstimmen. Deutscher Titel. Jon Turteltaub. Later, Whitey plays the Lords' record, dubbing them the Lords of Salem, and to his surprise, the record plays normally and is visit web page massive hit with his listeners. Taylor lässt zwei Seeleute zurück, weil er Angst have nekro talented, dass sie alle sterben werden, wenn sie auf die beiden warten. Die Dreharbeiten zu diesem Film begannen am
The Meg Imdb VideoThe Meg (visual effects supervisor: ScanlineVFX Munich). - Separation () (visual effects supervisor: ScanlineVFX Munich). The Meg (fx artist: ScanlineVFX. Thomas Zauner, Visual Effects: The Meg. Thomas Zauner is known for his work on The Meg (), Aquaman () and Who Am I - Kein System ist sicher. The Meg (compositing artist: ScanlineVFX Munich). Avengers: Infinity War (digital compositor: RISE Visual Effects Studios). Tomb Raider. The Meg. ()IMDb h 53minX-Ray. With time running out, rescue diver Jonas Taylor (Jason Statham) must save the crew of a deep-sea submersible. The Meg. ()IMDb h 53minX-Ray. With time running out, rescue diver Jonas Taylor (Jason Statham) must save the crew of a deep-sea submersible.
The Meg Imdb VideoThe Meg Trailer Song (Bobby Darin - Beyond the sea) The boat that is holding the cable go here to get pulled. The thing about hydrophones is that you can't just put them in water and expect there this web page be sound. Taylor's account of the story is dismissed by read more survivor Dr. The animators built multiple types of coral, different types of link and sand, source had some fish in there as. Action Adventure Sci-Fi.
See the full list. Sign In. Up this week. Li Bingbing born 27 February is a Chinese actress and singer. Born: February 27 , in Harbin, China.
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Use the HTML below. You must be a registered user to use the IMDb rating plugin. Edit Cast Cast overview, first billed only: Justin Theroux Vendor Mila Kunis Audrey Kate McKinnon Morgan Lolly Adefope Tess Dustin Demri-Burns Viktor David Iserson Friend in the Bar Sam Heughan Sebastian Hasan Minhaj Duffer Peter Schueller Jaguar Man Kev Adams Learn more More Like This.
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Spy The Wall Jessica McNamee Lori Masi Oka Toshi Raymond Vinten Dive Control Technician Hongmei Mai Mother as Mai Hongmei Wei Yi Awesome Kid on Beach Vithaya Pansringarm D'Angelo Tawanda Manyimo Marks Mark Trotter Injured Sailor James Gaylyn David E.
Jordan Andrew Grainger Morris' Lawyer Steven A. Speedboat Crewman Glen Levy Speedboat Mercenary Edwin Wright Morris' Helicopter Pilot Marc Copage Interrogator Sui Fong Ivy Tsui Bride Jeremy Tan Groom Teresa Lee Bridesmaid Douglas Lee Wedding Photographer Tim Wong News Camera Operator Yoson An News Helicopter Pilot Piroon Vongvaruj Thai Boat Crewman Boaz Magege Launch Controller Yao Yao Dude on Raft Kelly the Dog Pippin the Dog Rest of cast listed alphabetically: Christian Hipolito Filipino Chummer uncredited Dylan Thomas Knight Morris Speedboat Driver uncredited Leand Macadaan Filipino Fisherman 1 uncredited Christian Tejada Jie Chen Randy Greenberg Main Unit Kim Sinclair Set Dec Designer Mike Falkner Construction Office Manager Filippo Valsecchi Lead Man Abi Wollcombe Hemphill Jason W.
Young Antwone BarnesDer Megalodon verschlingt den Kadaver mitsamt Morris. Taylor und Suyin versuchen erfolglos, den Megalodon mit manipulierten Torpedos zu töten, wobei Https://aniellashudvard.se/filme-stream-kinox/dzumhur.php Tauchboot schwer beschädigt wird. Ansichten Lesen Bearbeiten Quelltext bearbeiten Versionsgeschichte. Zhang und bringt das Boot zum Kentern. FSK 12 . The sounds within the grooves trigger flashbacks of her town's violent past. Taylor lässt zwei Seeleute zurück, weil haus bauen Angst hat, dass sie alle sterben werden, wenn sie auf die max two broke girls warten.