Previous Posts
Archives
UK Mobile: +447796688750
barnsley@the-mill.com
iChat: yoooreds1
Skype: yoooreds
Barnes - The Mill - Visual FX Supervision
Saturday, December 10, 2005
Storyboard Shot 1A-1G
I personally think that there is a slight danger of over complicating this shot technically. We tried to break this shot down into essentially 2 parts, Interior action and Exterior action.
Plate 1. Main beauty plate. This is the meat of this shot. The camera starts looking forward and then pans to the right to observe our hero looking right, then, left then pull out of the juction. This should be shot with glass present in the side window. Also the car should be shaken/rocked at point of impact.
It's a small point, but care should be made when dressing the glass. If it is intended that the glass is dirty/smeared/condensation, I would reccommend shooting an additional plate of the glass against black, and film the beauty plate with "generally" clean glass. If the glass is "just a little worn", then don't worry, as it is un-necessary additional work.
Plate 2. This is the main stunt shot. The stunt Co-ordinator must clearly guide this shot, but in simple terms, this is where the motorcyclist smashes in the side of the car, smashing the glass. This will be done with an empty car, (no Driver). Every attempt should made choreograph/time, this and Plate 1, where ever possible and within reason.
It would be very helpful to film a rehearsal "without the bike". This would be very useful and form a clean plate (Plate3)
As I understand it, the motorcyclist will drive towards the car, braking/swerving/skidding and then smash into the car at a "safe" 6mph. According to Paul from Bickers, a charge will shatter the glass prior to impact.
There was a discussion about a "repeatable head camera". There arguments for and against. My gut feeling is that although it may prove to be helpful for the DoP to control the camera, it is by no means a necessity for Post-production. Obviously this may be contrary to earlier descussions, as things stand, I see little advantage.
We decussed one addition plate. (Plate 4). This would be very helpful, to give the director/editor more options. The car should be removed and the camera should be positioned at the same height and position as before. Ideally the camera would be travelling a little to echo the movement of the car. But because of safety and practicality, it would make more sense to lock off the camera, as I don't feel that the slight perspective change will cause any problems.
The motorbike should drive towards and past the camera, swirving/skidding as directed.
It would be our intension to perhaps join this and plate 2 together to create one continuous shot.
NB. After thought. In my experience, there is sometimes a noticable lag (about 6 frames) between the "charge" which shatters the glass, and impact. Normally the eye doesn't pick this up, but this is something to be aware of on the day. You might find it helpful to film a rehearsal, but without glass, if necessary.
Any problems. Give us a call.
Best wishes.
barnes.
Plate 1. Main beauty plate. This is the meat of this shot. The camera starts looking forward and then pans to the right to observe our hero looking right, then, left then pull out of the juction. This should be shot with glass present in the side window. Also the car should be shaken/rocked at point of impact.
It's a small point, but care should be made when dressing the glass. If it is intended that the glass is dirty/smeared/condensation, I would reccommend shooting an additional plate of the glass against black, and film the beauty plate with "generally" clean glass. If the glass is "just a little worn", then don't worry, as it is un-necessary additional work.
Plate 2. This is the main stunt shot. The stunt Co-ordinator must clearly guide this shot, but in simple terms, this is where the motorcyclist smashes in the side of the car, smashing the glass. This will be done with an empty car, (no Driver). Every attempt should made choreograph/time, this and Plate 1, where ever possible and within reason.
It would be very helpful to film a rehearsal "without the bike". This would be very useful and form a clean plate (Plate3)
As I understand it, the motorcyclist will drive towards the car, braking/swerving/skidding and then smash into the car at a "safe" 6mph. According to Paul from Bickers, a charge will shatter the glass prior to impact.
There was a discussion about a "repeatable head camera". There arguments for and against. My gut feeling is that although it may prove to be helpful for the DoP to control the camera, it is by no means a necessity for Post-production. Obviously this may be contrary to earlier descussions, as things stand, I see little advantage.
We decussed one addition plate. (Plate 4). This would be very helpful, to give the director/editor more options. The car should be removed and the camera should be positioned at the same height and position as before. Ideally the camera would be travelling a little to echo the movement of the car. But because of safety and practicality, it would make more sense to lock off the camera, as I don't feel that the slight perspective change will cause any problems.
The motorbike should drive towards and past the camera, swirving/skidding as directed.
It would be our intension to perhaps join this and plate 2 together to create one continuous shot.
NB. After thought. In my experience, there is sometimes a noticable lag (about 6 frames) between the "charge" which shatters the glass, and impact. Normally the eye doesn't pick this up, but this is something to be aware of on the day. You might find it helpful to film a rehearsal, but without glass, if necessary.
Any problems. Give us a call.
Best wishes.
barnes.
¶
2:23 PM
