Here are my thoughts about the DfT shoot later next week.

Essentially there are two FX shots in this commercial.

These are;
Storyboard Shot 1A-G. Panning shot from interior of hero car. To include impact/smash.
Storyboard Shot 3 (may include Shot4). POV shot Motorbike driving into hero car.

In addition Shot 2, which depicts the motorcyclist laid by the car after the accident. Although we discussed this briefly, I got the impression that, the helmet would be hollowed out, and twisted to an un-natural position. The motorcyclist would be dressed with scuffs, sctratches and perhaps a little blood. It is possible that this shot may evolve, (on the day).

More to follow.

¶ 4:32 PM //

This shot is a POV of the Motorcyclist driving at "modest" speed into the right-hand wing of the hero car.

As discussed this shot takes 2 forms.

Firstly the main beauty shot, with the camera mounted on a quadbike, with handlebars in view low in the frame. A test has been shot, (in reverse and although only a test, the director has a few reservations about the camera work close to the car. The DoP seemed confident that by crash-zooming when the camera is close to the window a lot concerns will be addressed. Also frame cutting and a little zoom on the Neg (during post) will probably help as well.

Secondly, we decided that we should film an additional plate, this time with the window down, allowing the camera to get much closer to the actor. It would probably be our intension to invisibly join this and the beauty shot together, and also add the glass and reflection in the few frames where there are not present.

Finally. to create the impression that the bike is falling to the floor, we decided that we should shoot the handle bar as a plate (in the same environment, blue/green screen not necessary.

I feel that this gives us enough options to crack this shot and the most suitable route can be decided at edit stage.

On the test, the camera and Quad were reflected in the window, for a few frames. Of course there is little we can do to avoid this, and I don't see any problem painting these away.

There is a slight issue about the speedometer reading 30 mph. There appears to be a mixed message here from the "powers that be". We made a desision that the speedo should be framed in shot. If this becomes an issue it will be framed tighter during telecine transfer. If we need to tweak the speedo lever, we will worry about this in post.

¶ 3:23 PM //

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.

¶ 2:23 PM //