I spotted this wonderful little animated tale of road rage and revenge on Vimeo earlier today. I was intrigued as to how they had manged to film it with the cameras getting so close to the cars – these are just Micro Machines after all – but was rewarded with some behind-the-scenes shots at the end.
The trailer for The Grand Budapest Hotel by Wes Anderson.
A very concise micro featurette by FX Guide, for Wired, that looks at the push to get back to doing more effects in-camera. Whilst the reviews for the films story have been reserved (listen to Mark Kermodes review for BBC Radio 5), there is no denying that visually, it looks stunning. Despite being introduced as a look at the return to in-camera effects, the miniatures used in the movie flash by too quickly. At the same time, arguably the showpiece of the whole film is the Elysium Torus, but that’s a CG effect. Nevertheless, it’s not a bad way to waste 3 minutes on a Friday.
Expedia (Australia) have an ad. entitled Out There Starts Here. Rather than aqua blue seas, azure skies, white sandy beaches and palm trees, they tap into the enthusiasm and adventure of our youth by taking us along on a young boys seemingly ad-hoc travels through a jumble of locations. Borrowing heavily from the films of Wes Anderson in both style (lots of centralised compositions, just not quite as yellow) and content, the bespectacled protagonist is more than reminiscent of Sam, from Moonrise Kingdom.
I like the idea of a world in which Wes Anderson is imitated more…but not too much more, hopefully.
Another project for Sky Sports that I worked on over the summer was a set of extensions to the studio backdrops in the main Sky Sports News studio. New camera angles for this upgraded portion of set required a direct extension to one of the spaces in the existing, lightbox based scene. The existing scene had concluded with a solid wall at the edge of the lightbox. For the extension, I had to engineer a way of not only extending the space, but of balancing the lighting and materials between two different conditions.
An additional area of studio backdrop was required for an expanse of wall surface to camera right. A cluster of doors within this area of wall precluded the use of lightboxes and so the backdrops had to be applied as front-lit prints – a different lighting technique and a different printer to the main scene. To further complicate the design, this new area of studio backdrop had to visually coordinate with the existing studio backdrops despite it’s perspective being generated from a point within the new set, whilst the perspective for the original scene is generated from a point in front of the main desk. From the actual camera position (to the left of the photograph shown here) the perspective for the two spaces integrates perfectly.
Set Design: Toby Kalitowski
Photography: Jaap Oepkes