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suggestion for shooting this add…a mixture of real life subjects and virtual objects
This is for an add. The client wants to see a real person shot in a lab, doing the following action which will be done as animation in post:
1- A faucet with water ( animation ) and the person above will turn it off
2- Glass of water with a pill ( animation ), the person above taking the pill and drink the glass of water
3- remote control ( animation ), with the person above inserting batteries in the remote controlso basically the objects above ( faucet, glass of water, remote control ) will be animated and placed within the real lab that the person is in.
How would you guys tackle this project ??
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8 Replies
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You could film the actor doing the actions with real props. The props would have tracking markers on them so they could be tracked & replaced with the stylized animated objects. No doubt there would be some rotoscoping needed to make it look good.
Jason Jenkins
Flowmotion Media
Video production… with style! -
Don’t sell jobs you have no idea to do
Options:
Hire a pro
Do test shoots and prototypesGiven the specificity of your questions it sounds like a leap first look second scenario
Plenty of things out there on matchmoving, rotoscoping, tracking, etc. But the concept you described is like jumping out a helicopter in the middle of the Arctic Sea because you think you want to learn to swim.
Richard M. Harrington, PMP
Author: From Still to Motion, Video Made on a Mac, Photoshop for Video, Understanding Adobe Photoshop, Final Cut Studio On the Spot and Motion Graphics with Adobe Creative Suite 5 Studio Techniques
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Hey Jason,
Thanks for the reply. I’m an on line editor with decent Roto/tracking chops in either After effects and Smoke. I’m a bit nervous about this gig as the producer is using a different camera crew and the animation will probably be outsourced.
Anyways, would it be crucial to place tracking makers during the shoot or can it simply be done in post and get the same result ? -
If the production company were really serious about this they’d have the the person doing the effects work (you?) on set during the shoot as an advisor.
This way everything necessary for post can be done correctly, saving endless hassle and re-shooting.
So many times I’ve been on shoots where the effects department wasn’t represented and hours, or days, and on one movie weeks were added to post production due to relatively small issues. Contary I’ve also been on shoots where the post production effects person was present, and was able to give advice that not only helped post but simplified some of the shooting because he was able to advise the crew on things that were time consuming or difficult for them that could be done more easily in post.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://www.steadi-onfilms.com.au/ -
I guess i’ve been lucky since i’ve started doing more vfx work a year ago, most of my gigs came from this one director and the footage i’ve been getting were impeccable…just finished 2 commercials for him doing color correction, lots of paint/roto, keying…all in Smoke with the client present. The session went great and i definitely must give most of that credit to the camera crew/vfx supervisor. So you’re totally right about having an experienced VFX supervisor on set making a big difference, unfortunately, this is not the case for my up coming gig. They don’t want to pay for an extra SFX supervisor during the shoot and since my camera/on set chops are limited, i’m trying to find out as much as i can.
Anyways, hope for the best…thanks again Jason and Phil for your inputs. -
Having some good tracking markers will definitely make post faster and more pleasant.
Jason Jenkins
Flowmotion Media
Video production… with style! -
They don’t want to pay for an extra SFX supervisor during the shoot and since my camera/on set chops are limited, i’m trying to find out as much as i can.
Then hopefully you are contacted to an hourly rate not a fixed rate, making them financially responsible for their possible mistakes and you richer and a hero for fixing them.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/ -
I would shoot rough everything live first and get a general motion approval and set expectations. Assuming you only have a storyboard to work with.
THe remote control… if you are putting batteries in, it would be upside down. Is there a specific shape for the remote? Not understanding why it would need to be animated, si a live hand will hold a chroma cutout modeled to look like the 3D version of the remote. A real battery pack will be inserted into the foam.Pill: is hand coming into contact with the pill?
I would make a chroma pill with two cross hairs on it.
Does the glass catch the water from the faucet with the man holding it?
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