Digital post-production starts with an optimal
film scan. Broadcast TV or theatrical film release, the scan is the most
important step in a digital compositing pipeline. I won't compromise on
my work, particularly in the way the scan is done. I most often scan at
full film resolution, which ensures that I can get the best extraction
of image data possible, without compromise.
If you've been down the road before, then you
know where the shortcuts and backroads are, without looking at a map. You
know which roads lead to nowhere and which ones take you right to where
you're going. Though getting there fast isn't what I do, necessarily. I
choose the scenic route, if you will. Getting there with the best possible
image. If you want it pixel perfect, you've come to the right place.
I've been doing Digital Composites for over 15
years and have managed to work successfully on virtually all the major
(and some of the minor) compositing platforms that are out there. From
multi-source D1 compositing bays to workstation environments like Cineon
or flame*/inferno*, combustion*, Quantel or Shake, Composer, Matador, Illusion,
Digital Fusion or After Effects or....you name it. If it's out there and
anyone's using it, I generally know it.
And I know the strengths and weaknesses
of each. I choose the right tool for the job. I don't let others choose
for me. I've done work at most of the post houses in Southern California.
From boutiques like CIS,
The
Digital Lab/Sight Effects,
Asylum
and Planet Blue,
to larger houses such as Pacific
Ocean Post (now Riot) and The
Post Group. And of course, major effects facilities
like Digital Domain,
SP
Imageworks,
Rhythym
and Hues and The
Secret Lab, I maintain excellent relationships
with each of these places. And a few others, as well.
Image #1:From the Motion Picture "Gone in 60 Seconds"- I just LOVE to broadside a car with a bus. It's amazing that they pay me to do this stuff...For this shot, the Special Effects team rigged an endless loop cabling system which synchronized the bus to the intended target, the black and white cop car. Having captured the impact with a repeatable motion controlled camera head, we then replayed the move with the Mustang racing through frame at top speed. This allowed us to place the Mustang just inches in front of the cop car, barely being missed by the bus. Excellent split screen and cable removals by The Secret Lab.
Image #2:From the Motion Picture "Face/Off" - This shot employed many techniques.....Motion Control photography was used to capture a "clean" pass of the Nicolas Cage dummy, uncut. A second pass was filmed wherein the dummy had been sliced and dressed with reel blood. Using Split-Screen and "Morph" technologies, we opened the skin up to reveal the subdermal flesh.....The laser beam and the separately photographed smoke were painstakingly tracked and composited in. All beautifully done by VIFX (since folded into Rhythm and Hues).
Image #3:From the TV Mini-Series "Stephen King's The Shining" - Filmed on location in Estes Park, C0., this live action crane move was photographed in real time at twilight. We searched many stock houses for just the right sky background, which is a time-lapse storm blowing in. Incredible patience, determination and money were used to put this shot together. Actually, 1K Pin Registered Film transfers and excellent tracking/compositing were done by CIS.
Image #4:From the Dodge TV Commercial "Crush" - One of the more satisfying morphs I've done, this one was achieved using a Motion Controlled camera system, so that we could shoot identical camera moves on a new truck and a crushed truck. Pin Registered Film transfers by CIS, superb morphing was done at Insight Pix, using Elastic Reality software. Excellent final composites by Sight Effects/The Digital Lab.
Image #5:
From
the Bell Atlantic TV Commercial "Animation
Studio" - This CLIO award winning spot features
excellent animation by Duck Soup. Live Action and Motion Control photography
by Apogee Productions. The water bottle was shot using motion control for
multiple passes. Pin Registered Film Transfers and Composites by CIS.
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