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Shots
against all odds
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Courtroom:
the deformed background shot
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I've
been determined from the start - or
well not quite, but at least from
when I made it in the animatic - to
force-push this backwall into production.
To do it, I had to put my fath in
the animatic's 3D model completely,
because that model was directly deformed
from the "normal" wall.
It could be deformed in a number of
other ways, but this particular deformation
worked best in the animatic, so I've
copied it into reality with great
care, all the way back then, in time
of pre-production. And when the time
to shoot this particular shot came,
I actually felt little reluctant to
do it. Now, why so? The thing is,
I've reshaped all the windows and
even broke some of the common architectural
canons in all of the "normal"
elements, in order to get rich - looking,
dense backrounds. So I eventually
even shot that one with the "normal"
background wall, simply 'cause it
was already in place and decorated
and everything. It was good enough.
And then again, there was that little
voice in the back of my head that
didn't let me quit the original concept.
After all, all I had to do was to
copy the changes to original design
into the distorted wall model. I turned
out just as I hoped it would, and
it's a major difference, I'd say.
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Up:
there was no definition of backdrop
in the storyboard.
Below:
I've used the 3D animatic models
as blueprints for the final models.
It can be noticed how taller the
deformed background is, compared
to the "normal" background.
Moreover, I've found out it had
to be made from fewer pieces: centerpiece
and two connecting sides. I only
made pillars sepatately, as add-ons.
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early 3D animatic inspired the distortion
(Above). The effect could, perhaps,
be achieved in computer, by distorting
the background, if shot separately.
I've rather opted for altogether separate
model, shot in-camera, along with the
puppet and the bench in the foreground. |
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Above:
deformed "Portic"
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When
assembled, the deformed background
had to appear the same as the "normal"
one (below left), when comparing colours
and details. At first, I shot one
take with the "normal" background,
and even considering it a wrap. But,
I had the deformed piece almost ready,
so I decided to gave it a go. I didn't
regret it, it's a noticeable difference
in the final shot.
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There's
one more thing that justifies this
shot: without
it and it's distorted backgound, there'd
be no reason for the other Courtroom
shots to appear more or less "normal".
You see where I'm heading? If I didn't
have that unusual, accentuated perspective,
then the whole courtroom should've
been bit more crooked or deformed.
And THAT'd be the real trouble...
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| _1
The ARCTIC PIRATE index |
| _2
Color chart development, coloring and
light tests |
| _3
Storyboards, shooting plans, concept
arts, sketches |
| _4
Puppets, from sketches to animation |
| _5
Vehicles of all sorts |
| _6
Houses and exteriors, from sketches
to final sets |
| _7
Interiors |
| _8
Small props |
| _9
Graphics and maps for posters, banners,
press, signs etc. |
| 10
Shots against all odds |
| 11
Simple shots, confined spaces |
| 12
Basics: workbenches, tools, logistics,
etc. |
| 13
Miscellaneous |
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