Download American cinematographer vol.90.2(2009) by The International Journal of Film & Digital Production PDF

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In stark contrast, he rendered the Real bedroom with chilly soft light from the overcast sky. 2 Worlds in 3 Dimensions For an exterior view of Coraline’s “Real” house, cinematographer Mark Stewart surrounded his subjects with bounced light to create an overcast, rainy-day look. To create a magic, self-illuminated garden, Paul Gentry balanced a combination of fiber-optics, small incandescents and LEDs embedded in fanciful animated flowers, plus black-light-activated paint. I suspect the growing flowers will be mistaken for CG work, but it is all real stuff.

We also tried animating IO settings on locked-off close-ups, hoping to get an effect as startling as Hitchcock’s simultaneous zoomand-dolly trick. For better or worse, it is barely noticeable — viewers unconsciously adjust to compensate. Our production cameras comprised 38 MegaPlus EC11000s and eight Nikon D80s, and our primary lenses were Tamron and Sigma zooms and Nikkor primes ranging from 14mm to 105mm. With very few exceptions, we did not compromise lighting and camera- work for 3-D constraints.

We put that through our 3-D tracking software and pretty much tracked without tracking markers. Figuring that out saved us hours. ” Simultaneous to the tracking, Look’s artists expanded the conceptual environments created in-house by Peter Lloyd or provided by The Orphanage, and then projected rough geometry onto the scene to test the accuracy of the tracks. Throughout the process, the Look team confabbed regularly with Maschwitz via CineSync, a remote review and approval program enabling live, real-time interaction with the footage (Post Focus, AC July ’08).

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