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Camera trick - need advice


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#1 Jase Ryan

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Posted 05 April 2010 - 07:21 PM

I'm planning a shot that I need some advice with. Its Interior evening in a large house. The last shot of the scene is a dolly past the actors to the window, holding on the view outside at night.

In the final edit, I want that shot to look as though the sun rises.. or at least it gets bright out. Then, I want the camera to dolly back in and it's daytime in house and its the next day with the actors... a new scene a new day.

Basically, I want it to all look like one shot. How would I approach this properly? We are shooting on film with Kodak 5219.

Any adive would help.

Thanks.
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#2 Keneu Luca

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Posted 05 April 2010 - 08:55 PM

I'm planning a shot that I need some advice with. Its Interior evening in a large house. The last shot of the scene is a dolly past the actors to the window, holding on the view outside at night.

In the final edit, I want that shot to look as though the sun rises.. or at least it gets bright out. Then, I want the camera to dolly back in and it's daytime in house and its the next day with the actors... a new scene a new day.

Basically, I want it to all look like one shot. How would I approach this properly? We are shooting on film with Kodak 5219.

Any adive would help.

Thanks.


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#3 Brian Dzyak

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Posted 05 April 2010 - 10:03 PM

How about greenscreen out the window?

What are the benefits of that method? For one, if you're using a practical location, you can use any window you want to and aren't bound by where the sun really is. Next, you can do the dolly moves just about anytime you want to (depending on what other windows you'd see during either dolly move). And, you are free to light the interior for night, do the dolly to the window... LOCK THE CAMERA DOWN.... relight the interior for morning, then do the dolly back out when you're ready.

This also gives you the opportunity to shoot multiple sunrises and choose the best one you can get instead of being locked into the one that happens on the day that you're shooting with talent.


If you rely on the real sun, you have to choose the window on your "set" that has the sun in it, and that may or may not be what your scene calls for. You'd have one shot at both ends of it. Mess up the action or the dolly move, and you're waiting a whole other day to try again. And, if you're doing a real night and then waiting all night for the sunrise, you've just lost valuable time (potentially) that you could have been working.


Of course, relying on an effect like this requires a bit of post VFX to match the background perspective with your on-set dolly move. All the benefits above aren't worth much if you can't find someone to composite that shot for you, so check on that end of things before forging ahead.

Good luck and please post the shot online so we can see the results! Thanks!
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#4 Jase Ryan

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Posted 07 April 2010 - 01:29 AM

Great! thanks for the advice I'll post the final result when done!


How about greenscreen out the window?

What are the benefits of that method? For one, if you're using a practical location, you can use any window you want to and aren't bound by where the sun really is. Next, you can do the dolly moves just about anytime you want to (depending on what other windows you'd see during either dolly move). And, you are free to light the interior for night, do the dolly to the window... LOCK THE CAMERA DOWN.... relight the interior for morning, then do the dolly back out when you're ready.

This also gives you the opportunity to shoot multiple sunrises and choose the best one you can get instead of being locked into the one that happens on the day that you're shooting with talent.


If you rely on the real sun, you have to choose the window on your "set" that has the sun in it, and that may or may not be what your scene calls for. You'd have one shot at both ends of it. Mess up the action or the dolly move, and you're waiting a whole other day to try again. And, if you're doing a real night and then waiting all night for the sunrise, you've just lost valuable time (potentially) that you could have been working.


Of course, relying on an effect like this requires a bit of post VFX to match the background perspective with your on-set dolly move. All the benefits above aren't worth much if you can't find someone to composite that shot for you, so check on that end of things before forging ahead.

Good luck and please post the shot online so we can see the results! Thanks!


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#5 boy yniguez

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Posted 08 April 2010 - 10:36 PM

I'm planning a shot that I need some advice with. Its Interior evening in a large house. The last shot of the scene is a dolly past the actors to the window, holding on the view outside at night.

In the final edit, I want that shot to look as though the sun rises.. or at least it gets bright out. Then, I want the camera to dolly back in and it's daytime in house and its the next day with the actors... a new scene a new day.

Basically, I want it to all look like one shot. How would I approach this properly? We are shooting on film with Kodak 5219.

Any adive would help.

Thanks.

jase,
i would just lock the camera in position at the end of the dolly, turn off the camera, wait for the next morning, continue the shot and dissolve the two shots together. the dissolve will give the illusion of brightening day outside!

boy
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Ritter Battery

Rig Wheels Passport

Glidecam

rebotnix Technologies

Aerial Filmworks

Metropolis Post

Wooden Camera

Media Blackout - Custom Cables and AKS

FJS International, LLC

CineLab

Tai Audio

Technodolly

Paralinx LLC

Willys Widgets

Abel Cine

Gamma Ray Digital Inc