Chris Smith
Forum Replies Created
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Music by Jack White. Directed by Nagi Noda. By Mother
Chris Smith
https://www.sugarfilmproduction.com -
I would bet TONS of money that this is all done practical. Clearly everyone is a different person. They don’t hide that. Also people move a little. Look at the kids, they are rocking a little in place. The whole “Coolness” of this spot is that it was done with a bunch of actors. That’s why each actor is so done up in a costume so that different looking ppl stand a chance of looking similar. Them moving at the end is just highlighting that it indeed was all people standing still. If this spot was an effect spot there would be nothing interesting about it what-so-ever.
Besides if it was CG, then they did the end shot (ppl moving) non-CG then they basically would have to rebuild the entire set and choregraph the ppl in the EAXCT same position, which would be completely silly to do.
It’s just like the Honda “Cog” spot. That was all real and practiced so that’s what made it cool. If it was effects, it too would be -yawn- just another CG spot.
It doesn’t need motion control either. It’s way too large of a move for most MoCo rigs. I really think it was just a Technocrane on a track that was practiced. It’s not like the moves are difficult or need to be timed to the actors since they are all standing still. Technocrane moves like this are done everyday and they aren’t a big deal.
Chris Smith
https://www.sugarfilmproduction.com -
I don’t think there is a lick of a composite at all. It would blow the spirit of what they are trying to do. Great idea! If it’s not Michael Gondry, it sure seems like it’s his work.
I see it’s a British site, hopefully they didn’t have to use the UK version of SAG. The residuals on airing that would be huge! Unless they can get away with everyone considered as extras and not principals.
Chris Smith
https://www.sugarfilmproduction.com -
What exactly do you mean by anamorphic? Do you mean the same aspect ratio as anamorphic film lenses (2.35:1) or the animorphic process of squeezing a 16:9 image into a 4:3 image?
As far as movie screens, most are at 1.85:1 unless it’s a movie shot wider at 2.35:1 which is mostly from S35 these days and not from anamorphic leneses.
Chris Smith
https://www.sugarfilmproduction.com -
I think he means a HIGH Pass filter at 32hz 🙂
Most gear isn’t spec’d higer than 20k anyways, and most folks can’t hear past 16k. But cutting the frequencies below 30ish hz is standard so you don’t get any unintended thumping or DC.
Chris Smith
https://www.sugarfilmproduction.com -
Try the chorus effect on an Eventide 3000. #326 maybe if I remember correctly?
It’s nice because it’s very mild and fattens things up without being too effecty.
Also, good compression and the right EQ. When you pull the low-mid out, find the frequency and Q that pulls out the mud, but leaves the deep chest sound. This helps a ton. Then of course, compress the VO aggressively.
Chris Smith
https://www.sugarfilmproduction.com -
Correct.
Give them a 16:9 quicktime. Most DVD compression programs and DVD authoring programs can make this into a 16:9 DVD. Then on the DVD player that plays back the disc, set the DVD player’s internal menu to play 16:9. Then you set the Screen to ‘Full’.
Chris Smith
https://www.sugarfilmproduction.com -
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What really matters is what are you going to use to play back the video on that screen? A DVD player? A Digideck? SP? DV deck? HD deck?
So you need your output comp be set to a resolution that will be right for the playback system.
As far as your comp, if it’s meant to be 16:9 then for your 4:3 footage, you can either crop the top and bottom of the image and scale it up evenly (what i’d do) and reframe for your subject, or yeah, you can stretch it.
The idea is to have that master 16:9 comp then add all your elements and resize to the comp the way you see fit, often just using scale.
Chris Smith
https://www.sugarfilmproduction.com