Solv­ing VFX prob­lems on Set

3D World - - INSIGHT -

on the pi­lot for nbc se­ries reverie, Stephan Fleet needed to find a way to show lead char­ac­ter mara (Sarah Shahi) be­ing pushed off a bal­cony and fall hun­dreds of storeys “We didn’t have the bud­get for heavy digi-dou­ble work,” says Fleet. “And we didn’t have the time for mo­tion con­trol. I also didn’t want a ton of wires cross­ing through her face and hair. So, col­lab­o­rat­ing with the di­rec­tor, Jaume Col­let-serra, I came up with this su­per crazy idea, to do the shot in two parts.

“The first part was easy – a pro­file shot of a guy push­ing her off the bal­cony onto a pad. VFX would add the ban­is­ter she smashes through. The se­cond part was nuts. We had two re­ally strong stunt dudes hold the lead ac­tress up and we used a live-switcher to eye­ball her into her end po­si­tion from the first part, then we picked up the move, track­ing the cam­era around her. We blasted her with wind, and shook the cam­era like crazy. VFX added the city around her and blended the two plates to­gether.”

Fleet says the re­sult of this ap­proach was that it didn’t feel like the ac­tress was hang­ing on wires, which meant it felt more nat­u­ral­is­tic. “Given our bud­get,” adds Fleet, “and our three-week post sched­ule, I think it’s a re­ally rad shot, and it was played a ton in the trailer – that’s when you know you did some­thing well, in my world.”

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