Hi guys,
There is an interesting article on Rear Projection in the American Cinematographer Magazine April 2007 issue.
This article is availiable for subscribers only.
There´s also another article on how they used Rear Projection on GetSmart.
This article is availiable for everyone on the ASC website:
http://www.theasc.com/magazine_dynamic/Jul...Smart/page1.php
Pgs 2 and 3 talk a bit about the scenes where they used Rear Projection and Pg 3 has one image of the Stage Setup with Rear Projection.
The April 2007 article called "Rear Projection Takes a Step Forward" talks about Rear Projection starting to be used once again due to the release of powerful (expensive) HD Projections 25,000 lumens and the possibility to perform realtime color correction of the plates using hardware such as the Luther box and playing back from HD decks such as HDCAM, D5, etc....
We started using it here @ TV Globo - Rio de Janeiro - in Feb. 2009 in one of our Soap Operas that has scenes in India and Dubai.
The timeframes between the shoot and the date the scenes AIR are extremely short (it may even be as short as shooting today to air tomorrow or even that same day) so using Chroma Key was not an option. And as you might imagine, going back to India and Dubai wasn´t either :)
We got some "good" results using a Panasonic DLP 10,000 projector which we decided to use due to our budget for rental.
But we´d really like to get our hand on is a 25,000 lumens projector.
You really need to reserve time for setting a really good Lighting setup that allows you to simulate shadows and/or car lights on the actors for night shots.
The quantity of car scenes in our Soap has grown a lot since we started and the time to setup lighting has shortened.
This has brought the quality down considerably.
One Question:
During a Rear Projection shoots should there be a VFX Supervisor onset?
Here we started implementing Rear Projection thru the VFX crew and included a really good VFX Sup with an excellent eye to make it work.
But now that it is going into full production I beleive it should be treated as a "special" scene shot inside a Stage were the Car is the Set and the Backdrop is a moving image....so the film crew and DP should carry it from now on.
What do you guys think?
Rgds,
Francisco Lima
VFX Tech. Sup.
TV Globo
Rio de Janeiro - Brazil
