Hot BTS By @guzula 🎥🎬
Caption by @reflexcinemaus
Yesterday I posted a very practical-effects (if not exactly practical to build) approach to a high-speed orbital shot. Today I give you a VFX heavy alternative by @guzula. This is just a test shot with a smartphone, but forgiving that for a moment, let’s consider the effect. This particular effect has two major challenges..
The first challenge is creating a convincing background plate to key in behind talent. The natural thought would be a somewhat out-of-focus 360 whip pan. This might sell if the whole scene is shot pretty tight. But, if you give the audience a detailed depiction of the environment in establishing coverage, it probably won’t. A pan from a central and static position is actually very different from an orbiting camera. In true orbit, the camera is never the same distance from any background object at any one time. Here, only the subject at the center of the radius maintains a consistent scale through the move. Panning is the opposite. In a pan, the distance between the camera and the background never changes, and the shifting of perspective that the camera experiences is far less dramatic..
Challenge number two is lighting consistency. In a full 360 orbital the quality of every lighting source changes through the course of the move. The talent’s main fill-light as seen from a frontal perspective transforms into a rim light when rotated more than 90 degrees. Likewise, backlight becomes frontal-fill when turned all the way around. Even without the imposing interference of a green screen, matching lighting through a 360 is difficult enough. With the greenscreen permanently occupying the background, it becomes a real pain. Ever wonder why so many modern films seem to all employ soft top fill light? This is one of the critical reasons why. If you want to fake a shot like this in post, you need to light as soft and toppy as possible, and then motivate such light in your VFX plates
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