S o m e E x a m p l e s o f D i g i t a l E n h a n c e m e n t s
Thorn's Bar: Matte Painting Enhancements and a 3D Synthetic Hand-Held Shot
proved to be one of the more ambitious digital shots in the film.
In retrospect, I probably wouldn't do it again because it was a
little too difficult, and ultimately just not important enough.
Still, in the finished film it works and it works pretty well. It
definitely helps the edit and pacing, and it avoids confusion. (But
it still wasn't worth the effort.)
scenario was this: we needed a bar adjacent to the abandoned gas
station. There was a perfect building for it -- only no door. In
the original cut, my actor rounded the building corner, then we
cut to an interior of him entering the bar (interior shot elsewhere).
By not seeing the entrance from the outside, the cut was a little
strange. It also took way too long for him to round the corner.
Any drastic editing seemed like it was missing information. I should
have found a clever editorial solution, but instead I came up with
a digital one.
three long/medium shots, this was a piece of cake. Painted door
dropped in with a soft-edged matte. I had to roto my actor for something
like seven frames, to hold him in front of the door before he walks
onward. While I was at it, I even decided to augment the old paint
on the building and make it say "BAR," just for clarity. These three
shots came together pretty quickly.
they didn't get my actor through the door. For that, I had the big
idea that we could camera project a still plate of the bar on some
rough 3D geometry, build a quality door, and then build a synthetic
"hand-held" camera move, a la actor's POV. This shot was not so
I had the assistance of one Greg Gladstone, animator extraordinaire
at Western Images. (Larry Chandler painted the door texture.) Greg
did most of the work modeling and animating the scene; the "Steadicam"
camera move and the lighting and mapping were all about 92% there
when I took over and finished it. I think I only got it about another
4%. It's about a 96% quality shot as finished. Good enough that
9 out of 10 people won't comment. One might. Still something just
a little bit "off." But it's pretty convincing.
And there were plenty more shots to spend time on....
Hell is Texas ©1999 by Puppy Dog Head Productions. All Rights Reserved.
668 ©copyright 2000 by r zane rutledge. all rights reserved.