Posted 25 May 2008 - 02:53 AM
Posted 25 May 2008 - 12:27 PM
If they are really framed with their body against the sky, then you need to create a key around them. Now if the real sky was somewhat bright and washed-out and they were somewhat silhouette, an efx person could probably just create a luminence key around them. If the sky were intensely blue and clear (maybe with a Pola to help), then it could serves as a semi-bluescreen around the person to create a chroma key, though you probably won't have the proper soft daylight on them like on an overcast day (unless you can fly a silk over everything.)
If the person is closer to lens, and is framed against the storm, then you'd probably want to put them against a blue or greenscreen. You can either do that outdoors in natural light or indoors and light the person for that soft overhead skylight effect, light the blue or green separately.
Posted 25 May 2008 - 12:49 PM
Posted 01 June 2008 - 01:20 AM
Posted 01 June 2008 - 11:01 PM
I don't know what kind of thunderstorms you get where you are, but if you could catch this at the right time, I'd shoot it as is. Texas thunderstorms can get nasty, but I wouldn't dub 'em to be dangerous, at least not when they're a couple miles off - as it seems such in this photograph.
If you do shoot as is... remeber that (quoting the weather channel here) "if you can hear thunder, you are close enough to be struck by lightning."... so just take that into account. So if you do shoot this live and not on green screen, I'd say keep everybody inside a building or car, that doesn't need to be outside until absolutely necessary. i.e; talent, crew that doesn't need to set-up equipment, ect.. And might I suggest making sure that if you use a boom pole, have the hand positions (if not the whole thing) insolated with rubber.
Posted 01 June 2008 - 11:31 PM
The great thing about DV is how easy it is to shoot from the shoulder and on battery. Get another crew member to brace the back of the camera man since the wind can take him by surprise. Depending on the angle of the sun you may not need any fill from lights or reflectors anyway because of the clouds. The only real hassle will be dialog. Record that as a reference track and loop it later. Rehearse the hell out of the scene so you won't have to deal with retakes. Get the master shot and coverage quickly from the shoulder.
If we had thought about our shoot and done it this way, we may have had a much stronger scene. We showed up too late and had to, later, run the dialog as voice-overs. Not the strongest approach, directorially. I also got my truck stuck in the beach sand and had to be pulled out by a fisherman with a four wheel drive. I was a walking pile of muck by the time I was done.
These are just ideas. I wouldn't want to be the one who talks you into getting struck by lightening.