"Post-Vis" and Production problem-solving

Changing your mind in post, solving production logistics problems, and proving you can do it...

"The One"  Sony/Revolution Pictures

 

STUNT-VIS:  Though initially hired to storyboard fight choreography the Chinese Action Team was designing for Jet Li, I wound up shooting the rehearsals and cutting them together so I could draw them.  Once production saw my cuts, they decided I was the "action team DP," and I began working closely with legendary action director Cory Yuen to "Hollywood-ize" their Hong Kong visual style.  The result here is a week of shooting and assembling the rehearsal footage so First Unit director James Wong could see and approve what we were up to...

"The Banshee and Finn Magee"  Disney

 

These are "proof of concept" test shots for a ghost effect I designed for a Disney picture that almost got made.  Since one of the two main adolescent characters was a ghost, execs were concerned about costly and time-consuming motion control rigs throughout (this was early 2004 when MoCo was still a necessity for multiple passes).  I devised a look in Photoshop based on an idea I had that would simply shooting:  shoot the young actors together with normally operated cameras, counting out the action, then repeat all camera movement minus ghost actress, as though it were just a second take.  Since her ectoplasmic look distorted the BG heavily, we were able to lay the clean BG back in over her first pass image with loose roto and heavy distortion, thus eliminating motion control in every shot.  We shot for two days with actors, and were able to achieve some lovely shots with a minimum of complex post work. 

"The Incredible Hulk"  Marvel Studios / Universal 2008

 

POST-VIS:  The Hulk originally started with Banner traveling to the arctic to commit suicide, and many 2nd unit aerial shots were done, along with a partial sequence with Ed Norton.  The incomplete scene was scrapped early on, but later, Marvel changed their minds and wanted to see it assembled and fleshed out.  Victoria Alonzo called me in months later to re-direct the idea with Norton one evening... this is what I came up with over the next week, given the handful of production shots. Favorite bits were suggesting his POV of the Aurora Borealis, and the shots of the arctic fox to give the scene a separate POV. Footprints, wide shots, new aerial shots, all created in Photoshop and After Effects.

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