You can take that data and turn it into a point cloud and start to make images with that.
They basically measure depth and distance from the camera. “One thing that really fascinated us was using depth camera’s. We had to update that using technical references of today’s machines and technology.” Back in the original Terminator these would be tinted red and have a grid and have maybe some DOS language. So, everytime you see something through a machine’s eyes, it’s treated in that way. “The nice thing about working with McG on Terminator Salvation, which is sort of an origin story for the Terminator series, is that he asked us to develop not only the main titles but the language of “machine vision.” “Machine vision”, in the Terminator piece, is the point of view of the machines.
Karin Fong talks about her title sequence and “machine vision” for Terminator Salvation, and other projects in this interview, which was recorded immediately after the Flux/Forget the Film, Watch the Titles event at The Hammer Museum in L.A., a day before the movie’s US premiere.
#T h e terminator salvation movie
Thank You for Smoking Karin Fong, Imaginary Forces (2009)Īfter designing the animated title sequence for The Pink Panther 2, Karin Fong and her creative team at Imaginary Forces worked on the main title of another iconic and successful movie franchise – the fourth instalment of the Terminator series.