Jump to content

35mm hand-painted matte VFX advice?


Recommended Posts

Hi All,

I’m preparing to shoot a couple scenes that will involve using hand-painted mattes (a là Black Narcissus, Star Wars, etc).

One shot is day exterior on 35mm Kodak 200T, the other is night interior on 35mm 500T. Below are basic storyboards.

Other than exposing correctly (at +1 for these particular stocks) is there anything else I should take into account to make the eventually composting with hand-painted titles easier/better?

Thanks in advance for any advice.
 

BF426C37-99D4-42FD-B690-230D1A77F69C.thumb.jpeg.10ddcb5f8ded44e081a105f67e289771.jpegED20950A-9EC4-472E-8AFB-730A375AD85A.thumb.jpeg.46a25b7962544bc0da8034960c195e93.jpeg

Edited by Omar Lopex
misspelling
Link to comment
Share on other sites

  • Sustaining Member

It's a complex subject  that dependis on how the painting was painted.

You might have to scrim the live action with a very fine net to match the contrast between the painting and live action. 

Sometimes the color temp between the painting and the live action can be mismatched, so be prepared to have a good supply of CC gel filters that cover the live action aperture on the painting;  you might have to warm it up or cool it down.

Here's a pricey book that directly covers the topic:

https://www.amazon.com/Invisible-Art-Mark-Cotta-Vaz/dp/0811831361

Good luck.

  • Like 1
Link to comment
Share on other sites

Frank: Thanks for the book recommendation. This is my first go at this & I had assumed I would be able to work with a rough sketch of the final image, shoot the live-action first, & then have the matte produced afterwards. I can understand doing the matte first, then live-action (like shooting wide then doing closeups), but is it absolutely necessary to do it that way, or do you think I can do it in the order I have planned?

 

David: Thanks as well. I had assumed I would film the mattes (after getting digital scans of live-action footage), process/scan the matte footage, & put together in after effects. Shooting the matte in-camera (on glass) seemed like too many variables to take care of on this first attempt. Is there a better/easier workflow to compost the images?

Link to comment
Share on other sites

  • Sustaining Member

I just assumed you were interested in doing it the classical way;  in camera.

If you are digitally compositing and not doing it in camera, shoot the action full frame and resize in AE.

Why not have all the pixels to play with for maximum flexibility?

 

Link to comment
Share on other sites

Join the conversation

You can post now and register later. If you have an account, sign in now to post with your account.

Guest
Reply to this topic...

×   Pasted as rich text.   Paste as plain text instead

  Only 75 emoji are allowed.

×   Your link has been automatically embedded.   Display as a link instead

×   Your previous content has been restored.   Clear editor

×   You cannot paste images directly. Upload or insert images from URL.

 Share

Forum Sponsors

Film Gears

Serious Gear

Metropolis Post

Abel Cine

Tai Audio

New Pro Video - New and Used Equipment

VidGear.com - Broadcast Video Warehouse

Visual Products

Gamma Ray Digital Inc

Broadcast Solutions Inc

FJS International

CineLab

Wooden Camera

Cinematography Books and Gear

ADVERTISING INFO


×
×
  • Create New...