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Old 03-30-2013, 11:47 PM   #16
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I interviewed Claudio Miranda about this one (actually, I seem to talk to him about all his shows, BUTTON, TRON and PI too), and the 'using projections to light the scene' is absolutely genuine. It wasn't like you were at a 5.6, but they knew what kind of levels they'd be operating at early, because this was something the director dreamed of being able to do and the DP really went to town trying to figure it out.

I don't know about the details of the screen because the one interview I didn't get was with PRG, who set up the 21 projections, which took a couple weeks of prep. Article is the cover story for April ICG magazine, will probably be online within the week.

Kosinski, BTW, is really serious about remaking THE BLACK HOLE. Difference is that he really wants to make the movie that I was hoping to see back in 1979, something that leverages off science and intelligent speculation. Got my fingers crossed about that.
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Old 03-31-2013, 08:32 AM   #17
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Quote:
Originally Posted by Zarathustra
"...a quality that just can't be faked."

That's funny on so many levels.

The other choice one was from Cruise saying it helps an actor not having to act. Brilliant!


You've never heard an actor complain about green screen work?
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Old 03-31-2013, 09:56 AM   #18
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Quote:
Originally Posted by Zarathustra

The other choice one was from Cruise saying it helps an actor not having to act. Brilliant!


Watch Natalie Portman in Star Wars, and then in Black Swan, and see the difference that an actor acting on a set vs greenscreen. Hell, watch ANY movie that uses excessive greenscreen vs a film using sets to see the difference.

Tom Cruise is a fantastic veteran actor and knows what he is talking about.
 
Old 03-31-2013, 01:28 PM   #19
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Well, it's not that hard to imagine that a set like this would inspire the actors way more than a green/blue screen. Heck, it even looks a lot more interesting to work with this screens for the whole crew, not only the actors.

Pyke, while I agree with what you're saying, let's not forget that Natalie (and everyone else in the episodes for that matter) was acting under the "direction" of Lucas. Aronofsky is way more inclined to actors and, in my opinion, a better director. So yes, green screen is not inspiring for actors, but the directos here had a lot to do with the different performances.
 
Old 04-01-2013, 03:24 AM   #20
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Nice little video. It's not that hard to understand that this aproach really does help the performance of an actor and the light obviously looks so much more natural. I think its great.


Loving that set also. Great design.
 
Old 04-01-2013, 11:52 AM   #21
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Quote:
Originally Posted by hypercube
I wonder, could scotchlite reflect back all the light from a modern laser projector? They're on the order of 5-10 times brighter than current projectors, it could make something like this work even better.

Also I don't doubt that the process has been simplified for a 3 minute video, but I don't see why it's invalid..of course there will still be post work and other things involved, but whatever you can get in-camera or even get you "closer" to the final in-camera is always a plus, IMO.

When used well I don't see why this technique can't work. The front projection scenes from 2001 still hold up, I think.


Scotchlite is great, but it only works if the projection and the camera share the same axis with the screen perpendicular to that axis, so it's great for front axial projection (which is how the 2001 stuff was done) but a bit useless in a situation like Oblivion where the projectors would be mounted outside the windows in the set and where the camera is wandering about the stage.
 
Old 04-01-2013, 12:44 PM   #22
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Quote:
Originally Posted by CHRiTTeR
Nice little video. It's not that hard to understand that this aproach really does help the performance of an actor and the light obviously looks so much more natural.


I never really gave that aspect of movies much thought. It must be tough for actors to react and show integration with green screen. Does anyone know how they are prepped for this? Is there a specific method or do they just learn their lines and play it by ear, or feel?
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Old 04-01-2013, 12:52 PM   #23
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Quote:
Originally Posted by Dillster
I never really gave that aspect of movies much thought. It must be tough for actors to react and show integration with green screen. Does anyone know how they are prepped for this? Is there a specific method or do they just learn their lines and play it by ear, or feel?


Every actor is different. There are tons of DVD extra features which go into this, especially on some of the big VFX films. Most actors don't seem to like green screen too much. They like looking at tennis balls doubling as supposed monsters even less it seems.
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Old 04-01-2013, 01:28 PM   #24
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I read somewhere that stage trained actors (specially those trained on the british method) tend to be stronger with green screen filming.


EDIT
Washington Post critic Stephen Hunter explored some of the advantages of the British technique in his review of Star Wars: Attack of the Clones:
"[T]he movie is kind of a laboratory on American vs. British technique. Score: Brits 10, Yanks 0. That's because to the Brits, who work from the outside in, acting is physical mastery of face and voice and body, strategically employed at certain moments for impact. An actor imposes himself on the character, and invents charm and wit and sparkle where none exists. So even the guy playing Palpatine (Ian McDiarmid) is creepy-elegant, and McGregor, athletic and earnest, can even bring a little life to a line like, 'I am concerned for my Padawan. He is not ready to be given this assignment on his own yet.' The Americans, on the other hand, are trained to get into the character's mind and imagine as he would imagine, to work from the inside out. But there is no inside here: These characters are nothing but pop-cult props, and that leaves the performers helpless and inert."

Some actors who, I think, exemplify the typical American approach: Sean Penn, Leonardo DiCaprio, Meryl Streep, Glenn Close, Dustin Hoffman, Paul Giamatti. Some British actors performing in the classic British style: Patrick Stewart, Ian McKellen, Judi Dench, Helena Bonham Carter. Some American exceptions to the rule: Jeff Bridges, Gary Sinise. Some British exceptions: Jeremy Irons, Daniel Day Lewis (and maybe Kate Winslet -- all individual actors defy generalizations to some degree, but Kate Winslet's acting is especially difficult to classify).
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Last edited by RobertoOrtiz : 04-01-2013 at 01:39 PM.
 
Old 04-01-2013, 04:36 PM   #25
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Another thing is that UK trained actors would be given Shakespeare, which has supernatural elements. American actors might be trained on Tennessee Williams or Arthur Miller or something more slice of life if they did theater work at all.

You notice how classically trained UK actors act as support pillars in American movies (Star Wars--Alec Guinness and Peter Cushing). Spartacus (Olivier, Laughton, Ustinov), Lord of the Rings (Ian McKellan, Christopher Lee).

There are some American actors who either had classical training or simply have some quality that allows them to do a historical drama without seeming out of place. Vincent Price comes to mind, and Frank Langella. Or Christopher Plummer (who did Shakespeare in Canada then went to England).
 
Old 04-01-2013, 04:36 PM   #26
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