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processed shot- a la sin city/kill bill
as mentioned in a earlier post, i am about to attempt shooting an actor in a stationary car, then place footage outside the windows. regarding the footage that i’ll insert (composite) outside the windows- i assume i should simply try to shoot normally, at the actual angles i would see if sitting in the car? i.e. car height, aimed out the window, driving at a moderate speed?
as for the overhead sky, for the convertible shots- i’m wondering if a still, of a starry sky, is sufficient?
any suggestions will be appreciated.
thanks
rp -
4 Replies
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Or don’t do any BG. If you look at the 1994 film ‘Bad Boys’, most of the car footage was shot with the car in a parking lot. They were shot on a very long lens and shook the lens a touch. All you saw behind their heads was some white sky. Looked great and you couldn’t tell they weren’t moving.
I copied this for a Nissan spot. It was pouring rain, we just put a white silk outside their windows, and did simple lighting gags like mirrors making hard passing beams on their face. In the shot it looked like a sunny day. No compositing what-so-ever.
Chris Smith
https://www.sugarfilmproduction.com -
thanks Chris for both replies (also the luma key post). the car scenes all happen at night- and i am losing good weather here- so, i may have to find a garage or warehouse to shoot the driving stuff. if the inside of the car is fairly dark- and i hit the actor with some edge lighting and maybe a single hard, high key- and place a couple green tarps outside the windows- do you think i’ll be able to use them as my “green screens” ? or does it become a nightmare because there isn’t enough light on the tarps?
rp -
I complete agree with Chris. If you check out the night driving scenes in David Lynch’s Blue Velvet you may be surprised to find out that they were also shot in a stationary car – with Lynch’s crew running past the car with lights to simulate road lighting.
And Chris, I hope you took the Bay-look all the way with an ever-present (and mostly unnecessary) sunset grad filter.
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[kieran] “And Chris, I hope you took the Bay-look all the way with an ever-present (and mostly unnecessary) sunset grad filter.”
Lol. Nah, I left the Tony Scott/Bruckheimer/Bay Tobacco grad off 🙂
RP: What matters most is that the part of the tarp near your keyable edges be well defined. But you can get away with murder if you’re willing to do a few layers of keying and garbage masking.
Do some quick keying tests before you bother with actors and setup.
Chris Smith
https://www.sugarfilmproduction.com
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