Scott Weavers
Media Production
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P1
Green screen- Hobbit
Purpose: The purpose of green screen was to try and to life the mythical land of Rivendell. This method was used so that the land of Rivendell would look like a beautiful and cinematic land where the audience would be able to immerse themselves in the world and the incredible detail that surrounds it.
Method: Once they have shot the scene they remove the colour green from the footage. They then use a different background and use it to fill in the blank spaces. The Rivendell they created had to be 60 years younger than the one in the Lord of the rings and the visual effects had to reflect that. The production filmed on several studio based sets and anything that wasn't on set was CGI. Visual effects team, WETA, created a composition to replace the green screen which is where they combine various visual elements from separate sources into single images, to create the impression that all those elements are part of the same scene. The composition included CG buildings and walkways, digital trees, cliffs and waterfall simulations, along with 2 1/2D digital Mette paintings. The team spend a lot of time working on the detail and the design of the Roof tiles and stone statues and in particular how the light would reflect of metal detail in the architecture. The digital Mette paintings were GCI based which meant they could design the scene lighting to a high level of quality.
Suitability: Without the green screen they would not have been able to make this beautiful landscape of Rivendell. The green screen was suitability used because they wouldn't have been able to find a suitable place on location, as Rivendell is fictional land. A green screen is the perfect colour to use because it doesn't match any natural skin tone or hair colour meaning no part of the actor will be edited out through chroma key (green screen). This technique is usually cheaper than to shoot in expensive or inaccessible locations.
Equipment used: To create the shot they had to use the equipment in the studio and the equipment for the visual effects. In the studio they use the technique called chroma key which is where they combine two frames or images by replacing a colour in one frame with that from the another frame and they use a green screen as the initial background and placing the actor in the foreground.
CGI characters - Avatar
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Purpose: The purpose of creating a CGI-charcter is to bring a fictional being to life that you wouldn't be able to do with practical effects. Having CGI enables the animators to create these amazing, mystical characters. The performance capture technique allows the creators to try to capture the performance of an actor and translate it to a digital character.
Method: The motion capture actually relied very heavily on the actors performance and everything from how they walk and talk is captured in their performance. Before the actors get to the performance they use this giant sphere covered with lights, as they try to photograph them and study their facial features while trying to understand how to design their characters. The next stage is to put the actors in a suit which have markers all over.They are then put into this big empty room filled with several cameras and lights positioned around them, which captures their movement. Once they have the movement of the actor they can create a skeleton for that actor which then can be made into a CGI character. To capture the face performance they attach a helmet to their head which has a camera connected to it and would image the face while the actor was working, so it could capture very detail such as the movement of the eyes and muscles.
Suitability: This method is very suitable for the film which had created this whole new fictional world, in which these giant blue creatures would exist. The CGI technology replaces the prosthetics and the hours of make-up that the actors would have to go through. This method was great as it could capture the performance the actor particularly for things like stunts and action sequences.
Equipment used: The Director designed a new camera specifically for the purpose of capturing the actors performance for a CGI character. This equipment was worn by the actors like a helmet, the device is equipped with a small boom that hangs over the forehead and places a camera around 6 inches from the actor's face. Most movies used a sound stage where as the Director used a motion-capture stage, an area made up of several motion capture cameras designed to record and transform into digital information both the movements of the actors and their facial expressions.
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De-aging - Star Wars
Purpose: The purpose of de-aging was to make Carrie Fischer look younger and this technique is usually used in flashback scenes. However in this case it was used for a small cameo role in Star Wars: Rogue one in which the character of Princess Leia gets handed the death star plans which comes before the iconic opening of A New Hope.
Method: In previous years they had relied heavily on CGI to help create the de-aging effect which resulted in mixed success. The actress of Carrie Fischer didn't perform the cameo role herself, instead Ingvild Delia was hired to play the role who spend many months studying Carrie Fischer's performance in the original Star Wars movies and on set wore the perfect recreation of Leia's outfit.The process starts with two sets of scans of the actor. The first is a facial model and skin texture scan done in a USC-ICT invented Lightstage. Then a set of cameras under both controlled and structured lighting can sample a very accurate high resolution facial texture. The detailed model of the actor provides not only the shape of their face but how their skin reacts to light. They then place motion capture dots on her face, then Fischer's face gets superimposed onto Delia's face to complete the effect.
Suitability: This method was suitable because it kept the Star Wars canon by having the character be the same age in A new hope and Rogue one which keeps the continuity going. Using other methods to de-age actors such as prosthetics and make-up would have looked very cheap and tacky and as I mention previously CGI would have result din mix success. So this new technique of swapping one face for another is defiantly the way to go.
Equipment used: The company they used to create this effect was called industrial light and magic, which was founded by George Lucas to create the visual effects for Star Wars in 1975, used a facial performance capture solving system to create the effect.
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P2
By Daniel Walstra
Original script by Mike Bailey and adapted by Scott Weavers and Jude Howe (I have highlighted the areas where VFX will be used)
By George Read and Marino Stavrou
By Daniel Walstra and Adam McIntosh
By Adam McIntoch
By Jude Howe and Harry Rundle
By Emily Horler and Gemma Walker
By Daniel Walstra
Storyboard by George Read, Jude Howe and Scott Weavers
(from left to right)
Shot Number: 1
Location:Bidding room
Action: Business person stares out of window
Sound/Dialogue: Background music
Camera Movement: Medium wide shot, slight zoom
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This is an establishing shot to show that this film is set in the future
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VFX will be used here -green screen
Shot Number: 2
Location:Bidding room
Action: Man walks towards door
Sound/Dialogue: Background music
Camera Movement: Medium wide shot, slight zoom
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Shot Number: 3
Location:Bidding room
Action: Overseer speaks into microphone
Sound/Dialogue: Overseer talking, background music
Camera Movement: Still shot, medium shot.
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Shot Number: 4
Location: Test chamber
Action: A.V.I.S and Walker sitting in a chairs
Sound/Dialogue: Background music
Camera Movement: Still shot, wide long shot.
Shot Number: 5
Location:Bidding room
Action: Overseer speaks into microphone
Sound/Dialogue: Overseer talking, background music
Camera Movement: Still shot, close up,
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Shot Number: 6
Location: Test chamber
Action: Walker siting in a chair
Sound/Dialogue: Background music, Walker talking
Camera Movement: Still shot, medium close up
Shot Number: 7
Location: Test chamber
Action: Walker and A.V.I.S siting in a chair
Sound/Dialogue: Background music, Walker and A.V.I.S talking
Camera Movement: Still shot, medium wide shot
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This shot is to show the interactions and the emotions between Walker and A.V.I.S
Shot Number: 8
Location: Test chamber
Action: A.V.I.S siting in a chair
Sound/Dialogue: Background music, Walker and A.V.I.S talking
Camera Movement: Still shot, medium close up
Shot Number: 9
Location: Test chamber
Action: Walker and A.V.I.S sitting in a chair
Sound/Dialogue: Background music, Walker and A.V.I.S talking
Camera Movement: Still shot, medium over the shoulder shot
Shot Number: 10
Location: Test chamber
Action: A.V.I.S sitting in a chair
Sound/Dialogue: Background music, Walker and A.V.I.S talking
Camera Movement: Still shot, Medium side view shot
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VFX will be used here - colour grading
Shot Number: 11
Location: Test chamber
Action: Walker and A.V.I.S siting in a chair
Sound/Dialogue: Background music, Walker and A.V.I.S talking
Camera Movement: Medium wide shot, slight zoom
Shot Number: 12
Location: Test chamber
Action: Walker and A.V.I.S playing chess
Sound/Dialogue: Background music,
Camera Movement: Still shot, medium birds eye view shot
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This shot signifies the importance of the chess game by showing the audience a high shot of the chessboard
Shot Number: 13
Location: Test chamber
Action: The three business men and overseer watching the chess game
Sound/Dialogue: Background music, business men talking
Camera Movement: Still shot, medium wide shot
Shot Number: 14
Location: Test chamber
Action: The three business men watching the chess game
Sound/Dialogue: Background music, business men talking
Camera Movement: Still shot, medium side on shot
Shot Number: 15
Location: Test chamber
Action: Walker and A.V.I.S siting in a chair
Sound/Dialogue: Background music, Walker and A.V.I.S talking
Camera Movement: Still shot, medium wide shot
Shot Number: 16
Location: Test chamber
Action: A.V.I.S siting in a chair
Sound/Dialogue: Background music, Walker and A.V.I.S talking
Camera Movement: Still shot, medium close up
Shot Number: 17
Location: Test chamber
Action: A.V.I.S sitting in a chair
Sound/Dialogue: Background music, Walker and A.V.I.S talking
Camera Movement: Still shot, Medium side view shot
Shot Number: 18
Location: Test chamber
Action: Walker and A.V.I.S sitting in a chair
Sound/Dialogue: Background music, Walker and A.V.I.S talking
Camera Movement: Still shot, medium over the shoulder shot
Shot Number: 19
Location: Test chamber
Action: Walker and A.V.I.S siting in a chair
Sound/Dialogue: Background music, Walker and A.V.I.S talking
Camera Movement: Still shot, medium wide shot
Shot Number: 20
Location: Test chamber
Action: The three business men and overseer watching the chess game
Sound/Dialogue: Background music, business men talking
Camera Movement: Still shot, medium wide shot
Shot Number: 21
Location: Test chamber
Action: A.V.I.S siting in a chair
Sound/Dialogue: Background music, Walker and A.V.I.S talking
Camera Movement: Still shot, medium close up
Shot Number: 22
Location: Test chamber
Action: Walker and A.V.I.S siting in a chair
Sound/Dialogue: Background music, Walker and A.V.I.S talking
Camera Movement: Still shot, medium wide shot
Shot Number: 23
Location: Test chamber
Action: The three business men and overseer watching the chess game
Sound/Dialogue: Background music, business men talking
Camera Movement: Still shot, medium wide shot
Shot Number: 24
Location: Test chamber
Action: A.V.I.S siting in a chair
Sound/Dialogue: Background music, Walker and A.V.I.S talking
Camera Movement: Still shot, medium close up
Shot Number: 25
Location: Test chamber
Action: Walker and A.V.I.S siting in a chair
Sound/Dialogue: Background music, Walker and A.V.I.S talking
Camera Movement: Still shot, medium wide shot
Shot Number: 26
Location: Test chamber
Action: The three business men watching the chess game
Sound/Dialogue: Background music, business men talking
Camera Movement: Still shot, medium close up side on shot
Shot Number: 27
Location: Test chamber
Action: Overseer watching the chess game
Sound/Dialogue: Background music, Overseer talking
Camera Movement: Still shot, close up shot
Shot Number: 28
Location: Test chamber
Action: Walker siting in a chair
Sound/Dialogue: Background music, Walker talking
Camera Movement: Still shot, medium close up
Shot Number: 29
Location: Test chamber
Action: Walker and A.V.I.S playing chess
Sound/Dialogue: Background music,
Camera Movement: Still shot, medium birds eye view shot
Shot Number: 30
Location: Test chamber
Action: Walker and A.V.I.S sitting in a chair
Sound/Dialogue: Background music, Walker and A.V.I.S talking
Camera Movement: Still shot, medium over the shoulder shot
Shot Number: 31
Location: Test chamber
Action: A.V.I.S siting in a chair
Sound/Dialogue: Background music, Walker and A.V.I.S talking
Camera Movement: Close up, slight zoom
Shot Number: 32
Location: Test chamber
Action: The three business men watching the chess game
Sound/Dialogue: Background music, business men talking
Camera Movement: Still shot, medium close up side on shot
Shot Number: 33
Location: Test chamber
Action: A.V.I.S siting in a chair
Sound/Dialogue: Background music, Walker and A.V.I.S talking
Camera Movement: Still shot, medium close up
Shot Number: 34
Location: Test chamber
Action: Walker and A.V.I.S sitting in a chair
Sound/Dialogue: Background music, Walker and A.V.I.S talking
Camera Movement: Still shot, medium over the shoulder shot
Shot Number: 35
Location: Test chamber
Action: Walker and A.V.I.S siting in a chair
Sound/Dialogue: Background music, Walker and A.V.I.S talking
Camera Movement: Medium wide shot, dolly from left to right
Shot Number: 36
Location: Test chamber
Action: Walker sitting in his chair as he turns his head
Sound/Dialogue: Background music
Camera Movement: Still shot, medium wide shot
Shot Number: 37
Location: Test chamber
Action: A.V.I.S siting in a chair
Sound/Dialogue: Background music, A.V.I.S talking
Camera Movement: Still shot, medium close up
Shot Number: 38
Location: Test chamber
Action: Walker siting in a chair
Sound/Dialogue: Background music
Camera Movement: Close up, slight zoom
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This shot is designed to increase the tension in this scene
Shot Number: 39
Location: Test chamber
Action: A.V.I.S siting in a chair while getting blood splatted on her face
Sound/Dialogue: Background music
Camera Movement: Still shot, close up
Shot Number: 40
Location: Test chamber
Action: Chess piece with blood on it
Sound/Dialogue: Background music
Camera Movement: Still shot, extreme close up
Shot Number: 41
Location: Test chamber
Action: Walker's eye
Sound/Dialogue: Background music
Camera Movement: Still shot, extreme close up
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VFX will be used here - eye code
P3
Setting up appropriate equipment: For all the filming we used a Canon 700D and a Canon 1000D which meant that we were able to keep the settings for both the camera's the same, meaning the film would look consistent. To make sure the camera was stable while filming we used a tripod and placed it securing on the floor which meant that all the shots would remain still, allowing us to easily focus the camera. A big part of the equipment were the lights which were securing placed onto a stand. We used three different type of light a key light, a fill light and a back light.
Following script/ storyboard: The script that we adapted was followed to the letter which allowed us to focus on other areas during filming such as camera operating. Some parts of the script were a little more vague for example the end of the script had little dialogue so in order conclude the story we had to think of creative ways to do so. The storyboard was a shot for shot translated of the story and gave us a clear idea of how the narrative would flow and gave the editors a good idea of the chronological order of the shots. We took the scripts and storyboard along to each shoot to make sure we were following the story.
Following safe working practices: The risk assessment and recce referred to various considerations and precautions that would need to be carried out in order for the cars and crew to be safe in the locations. We stuck to these precautions rigid to make sure that no one would be in danger or harmed during the production. For example we had a lot of equipment which needed to be looked after and therefore we had to be weary of our surroundings. Some of the equipment had cables which had to be covered up so that we didn't trip over them.
Following production processes: In order to monitor and maintain footage after emac shot we would would reply it back on the camera to see if it was either out of focus, shaky or just simply needed re-doing. We used tow 32 GB memory cards which was a good amount to contain all of the footage, however just in case the memory cards become corrupt or the footage gets lost we used a hard drive to store all the footage that was captured.
P4
Logging rushes and edit decision list
Producing and reviewing an offline edit
This is my offline edit which is without music, visual effects and the Tascam audio hasn't been synched up. To improve my offline edit I will add the visual effects as it will add that extra element to the film, this also includes colour grading which will make the image so much better. For the dialogue scenes I will use the audio recorded on the Tascam because it's cleaner and crisper than the audio captured on the camera. I will add music which will increase the tension of the film.
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The process has been a bit mixed at times with some slight audio issues and scheduling problems but overall when the final film is complete it will look really good.
Applying visual effects and transitions
This really cool visual affect was created with the Boomsatsuma's GCI department. We needed a shot to show the man getting turned into an android so we used the eye as the main focal point for the audience but then we needed something to portray his transition into an android. The Visual effects department created this matrix-like code which then could be super-imposed into his eye. The man would open his eyes then the code would start flicking up and down which would grab the audiences attention, also the colour choice of green was because this is a si-fi film and green is associated with the is-fi genre.
For this visual effect, which was again created with Boomsatsuma's CGI department, we used a green screen and replaced it with a ready made design of a Dystopian future. The description we gave of the Dystopian future was "A business man is looking out of window into a desolate dystopian future in the year 2142. The City is in a state of decay with derelict and ran down buildings. A tall modern clean tower stands tall in the distance among the others, a holographic sign glows out from the side of the building. The business man slowly turns and walks towards the testing room where two other business people are standing next to him." The final composition of the art work translated really well with the description that we gave. You can get the sense that this world has been left in ruins with tall, dark, mysterious buildings in the background which resulted in the main focal point of the shot.
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The third visual effects is colour grading which required the colour effects tool in premier pro. We wanted the film to have a si-fi feel to it as it is set in a Dystopian future, which is why we chose to have a strong blue colour to represent this. Blue is a very cold colour which we used to portray how broken and derelict this future is, we also used blue to show how technologically advanced this future is as blue has a strong association with technology. To colour grade the image we went into the colour section of the effects and played around with basic correction and the curves to create the end result.
As you can see I have used audio transitions such as constant power to fade in the audio.
Linking audio to visual and applying audio effects.
Here are some examples of us link audio to the visual.
The audio effect we used was constant power which decreased the music gradually.
Final Film