Walking With Dinosaurs, the movie

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Old 05 May 2013   #31
Eyelines are one of the most subtle and powerful driving factors in any shot with creatures. They resonate with the audience at a subconscious level like you wouldn't believe it.
Even with the eyes barely visible or big enough to tell direction you can lead the whole audience to a spot in screen space or distract them away from it. You can make a character look smart and focused or stupid and detached by changing just that.

At least for us, extremely vision centric creatures, the eyeline is everything, and there's only that much empathy you can create without going somewhat human with it (and hell knows we've tried everything between penguins, owls, snakes, mammals, dragons and dinosaurs).

Directing humans on screen is no different. Some times you use it for compositional purposes, to lead the spectator's eye when context overrules character, some other times for emotional purposes, to shift the emotional state of the character by emphatising eye movement over using them as a marker to lead composition, and make the character the heart of the shot.
Food for thought for you since you have directorial ambitions

It's a fine art and an incredibly difficult balancing act when you do non-humans.

As for the shoot, as I said it's all dual Epics AFAIK, don't know if they ever slipped in Alexas or something else, but yes, it's all digital.
DI and look choices, not to mention constraints, play a big role though.

The first JP is supposed to be nocturnal, suppressed and claustrophobic, jump to the second one and you'll find it shooting more for vibrant, expansinve and open, then move to the third, and you will find it more suppressed and mysterious even in the open vistas.

It's just another decision and language of choice, and these days digital is so awesome if you know what you're doing that you get to choose later in the process, rather than be a slave to the chemical process of what roll you might have been lucky or unlucky to pick from AGFA or Kodak.
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Old 05 May 2013   #32
Originally Posted by ThE_JacO:
Directing humans on screen is no different. Some times you use it for compositional purposes, to lead the spectator's eye when context overrules character, some other times for emotional purposes, to shift the emotional state of the character by emphatising eye movement over using them as a marker to lead composition, and make the character the heart of the shot.
Food for thought for you since you have directorial ambitions



Thanks, I really appreciate all the advice you've been giving me since last year.

My personal sort of "go to" method for eyelines is comic book framing. And we did experiment with eyeline movement even in REVERSION. What I will admit to was we never cared about where the actor was looking... It was "Whatever we need for context".

If you open our scene files she's usually looking at things "the wrong way", but it seemed OK in camera. And that's what rules our day.

I saw that of course in "The Making of Raiders of the Lost Ark" because Spielberg would do that with the actors (particularly when looking at something off-screen... which I like to do a lot).

And yes, I agree eyelines are very important.. particularly when they move within the shot.
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Old 05 May 2013   #33
What on earth is going on in the wide shot of the water rapids. ... did that slip past in dailies

b
 
Old 05 May 2013   #34
Originally Posted by mr Bob: What on earth is going on in the wide shot of the water rapids. ... did that slip past in dailies

b


Indeed that's a plain mistake, but some of the other flight comps look bad too, as well as a few animations (that falling Trex thing especially). The rest is great so I'm hoping it'll all be good by december.
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Last edited by Mic_Ma : 05 May 2013 at 02:55 PM.
 
Old 05 May 2013   #35
I guess they had to make it appeal to kids as well as adults. I'll go see it with the grand kids.
 
Old 05 May 2013   #36
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