I was working on doing some lens flare tests. We did an Anamorphic Lens test a month or so back. Both Jason and I were also invited on a set which was great shooting anamorphic, which we discussed on our Red Centre podcast. We set to filming some of our own tests for a new project we want to do and then Jason found Claudio Miranda’s web site. Claudio is the DOP on the upcoming Curious Case of Benjamin Button, having previously been second unit on Zodiac. In addition to this brilliant lens flare page he has another sort of ‘test bed’ area that includes tests for David Fincher and Nike. It is so great to see professionals sharing such professional stuff. I just love his work, - his TVC work is amazing and so inspiring.
Click here for his lens flares pages or click here for his main test area
See his work in the trailer for the upcoming masterpiece Benjamin Button
This is why I love the net! So thanks so much Claudio for sharing - plus now I really don’t need to complete my own tests, I have Claudio Miranda doing them for me!
Archive for November, 2008
Just back from a shoot that doubled as a bit of a holiday in Northern Queensland. We were shooting a bunch of stuff but we are also preparing for a underwater project with underwater housings. I guess that bit was a pre-pre-production test shoot. I learnt a lot - I have never done an underwater blue screen but I am keen to work out the issues - one of the interesting things is the white balance. We discovered it was hard to get the same white balance to work above and below the water - as I guess you’d expect. We are keen to also test the RED underwater - but that will be for another post !
We have started filming for next term’s fxphd. The problem I have in writing this blog is which pun to use.. we had a blast, it was the bomb, what a ripper, but you know the truth is - it is kind of stressful. It is stressful as we had just two takes. It is stressful making sure the crew is safe, the camera is not destroyed (it survived under 2 layers of bulletproof polycarbonate Lexan), it is stressful rigging hugely complex rigs, it is a bit stressful re calculating the maths of timing, framerates and explosives, or making sure the towers are high enough and secure enough and then fighting to get the shot before the sun goes down, and we loose the light, but not wanting to rush the guy with the C4, gasoline and gunpowder…. Did it work? Did we get the killer shot that will can now distribute to all the members of fxphd.com as part of a really great complex effects shot sequence? … the new term starts in Jan, find out then.
We had a brilliant time interviewing director George Miller for next week’s Background Fundamentals class at fxphd.com. Miller is an Oscar winner for his work on Happy Feet, but what makes him so interesting is that he is equally known for his action packed Mad Max films, or just as equally known for his family effects films such as Babe, or his serious dramatic pieces like Lorenzo’s Oil. I have to say we have interviewed a lot of people, and a lot of really great inspirational figures in vfx. Many of these interviews have been a joy to do, but this one really was one of the best we have ever done. Miller was thoughtful, generous and funny. He really is an exceptional creative and it was one of this countries most successful film makers ever. While the majority of the interview was for fxphd, we think we have enough good material to also do an fxguidetv episode.
For those of you in fxphd - I am really proud of the effort the team did on this class, and actually for this whole term. One not to be missed !
As part of this term’s ever popular Background Fundamentals course, we recently got to interview Ross Emery ACS DOP. Ross is a specialist second unit DOP who has worked with 35mm film on such great films as Dark City, and all of the Matrix films. On Superman Returns he shot flying sequences and green screen with the Genesis Camera and on his most recent feature he shot with the RED ONE Camera on one of the first major Hollywood RED productions the Knowing starring Nicolas Cage and directed by Alex Proyas. We speak to Ross about how he works with visual effects supervisors on set, and the relationship between the DOP and the key heads of department.
I had a great visit at the Third Floor earlier this week to check in with Chris Edwards and film for our fxphd vfx supervisor course this term. We first visited them in August right before SIGGRAPH, but they were prepping for a demonstration at the show and we couldn’t see their “Director’s Layout Room” (”D-Lo” for short) in action.
But this trip, it was up and running so we got to see how it worked. Basically they have a physical camera with sensors hooked into Motion Builder which allows them to create camera moves in real time. They key, as is the clue with most previs, is that the process is very quick and fluid so that you can rapidly get feedback. It’s pretty slick. We included Chris’ overview of the system in our internal “this week @ fxphd” update video that goes out to members — its a weekly presentation that helps keep them up to date on what is going on at fxphd.
Thanks Chris — and everyone at The Third Floor — for letting us invade your space this week.
