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Our experts
this issue
NICOLAS AITHADI
Nicolas is a VFX
Supervisor at the
Moving Picture
Company, currently supervising
X-Men: The Last Stand.
www.moving-picture.com
OYSTEIN LARSEN
Oystein is VFX
Supervisor at Toxic in
Norway. Former credits
include the Matrix sequels,
Catwoman and The Ladykillers.
www.toxic.no/toxic.html
CRISTIN PESCOSOLIDO
Cristin joined Meteor
Studios as a VFX
Supervisor in 2004,
where shes supervised
Catwoman and Elektra.
www.meteorstudios.com
FRANK WEGERHOFF
Frank is an independent
VFX Supervisor, with
credits including Das
Wunder von Bern. Hes working
on Blood and Chocolate.
f.wegerhoff@frame-fx.de
before youre anywhere near the set. You will already have
come with their own challenges, but without the actors on set,
theres more opportunity to get involved in supervisory work.
In this article, we set out 15 essential tips on how to record
fix, and how you can do so. And this is just the beginning.
a little something?
sheets you can copy for yourself, can be found on the CD.
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BE PREPARED
Before you even reach the set, know your shots inside out, including
know which elements youll need to shoot and how theyll be
photographed. Youll need to have every unit of photography
covered, and depending on the complexity of the shoot, you may
need assistants for each unit. While one is taking notes, another
could be setting up tracking markers, and a third helping queue
camera moves on the motion control rig. Make sure each assistant
has access to all the equipment theyll need.
youll require, and the Script Continuity Supervisor, who will also be
recording camera data. Remember, theres no reason why the crew
should understand visual effects jargon, so talk in a language they
understand. Explaining what youre doing, and why youre doing it,
is a good way to build productive relationships.
Camera Assistant for their camera reports. If they miss vital lens
information on a take, youll be the one struggling in postproduction.
hold up the shoot. Since time is money, work as fast as you can. Let
the shoot run smoothly as you gather data from behind the scenes.
While tape measures are fine for miniature shoots, its worth
investing in the more expensive laser range-finder for live-action
shoots. Also carried by the Camera Assistant, these are good for
Do whatever you can to help the Director get the images he needs.
ceiling with a tape measure, youll wonder why you never made the
www.microglobe.co.uk.)
MEASURE EVERYTHING
Camera Assistant to shoot a lens grid, full frame, for each lens. (An
example can be seen at the top of this page, and is also included on
the CD.) Lens grids are a way of measuring the barrelling distortion
of any particular lens, and are used back in the visual effects office
the sets layout and the positions of the actors. Dont rely on the
You can never collect too much data. Not only will you need to know
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Slate the lens grid with a note of its make, model and focal length.
There should be a grid warping tool in your compositing software
that enables you to undistort the plate using the distortion youve
captured in the lens grid. All you have to do is create the same
number of lines as your lens grid and pin its points to match, before
finally applying the warp effect.
off the camera flash in low-light conditions, dont use one on set
real-world reference (for more details, see the tutorial on page 58).
never fire a flash while filming! (This has reportedly been done.)
stills by rotating the camera around its optical centre. Bracket each
If youre shooting on a stage, ask the art department for a copy of its floor plan. Out on location,
survey the site as accurately as possible, and sketch out both plans and elevations. Youll need
detailed measurements of anything you may need to reconstruct in 3D. Additionally, for each
lighting set-up, mark the locations of the primary lights on the plan. Its always helpful when youre
back in the office, matching the scene in 3D, and trying to determine where exactly to put the
keylight. Sketches are also vital in describing camera tracks or dollies on the camera report.
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