Hello, hello everyone, love to watch movies, love to create, I am Jun Ah Yong behind the scenes of the movie.
In Chinese anti-Japanese dramas, it generally refers to anti-Japanese war films with bizarre special effects and exaggerated plots. Whenever people mention a certain anti-Japanese drama, they are generally complaining about the plot of this drama or the exaggerated part of the special effects of this drama. Of course, European and American countries do not have anti-Japanese dramas. But they have a series of films that are similar to China's anti-Japanese dramas, that is, a series of anti-terrorist dramas in the United States and Europe.
The difference with the anti-Japanese drama is that most of the anti-terrorist dramas are well-made, the special effects are extremely realistic, but the plot is too exaggerated about the bravery of European and American agents and the positive image of the leader.
This issue will analyze a special effects shot of a car explosion in a gunfight scene in the anti-terrorist drama "The Fall of London".
Figure 1
From Figure 1, you can see the actual shooting environment of the scene. It is a simulated london city scene in front of a slab building with columns, surrounded by green steps as a mask. Because the use of fireworks and firearms is involved in the shooting scene, in the actual city of London, this high-risk factor shooting is not allowed. Therefore, the use of this method of shooting in a different place and post-producing London Street View is a common production method in the production process of the film and television industry.
As can be seen from the scene environment, the columns between the ground and the car body in the actual shooting material are the parts of the gang, so in the process of production, the first step is to erase the objects that wear the gang in the picture. Then add the missing parts of the plot to the scene, such as bullet holes in the car during the gunfight and the fence on the roadside in the distance, after the foreground has been repaired. The post-compositor needs to use the hue keying principle to remove the green cloth cover in the picture When de-masking, the foreground information must be maintained with high accuracy. Because this project is a theatrical film project, the precision requirements for post-production will be required in the process of picture restoration and mask removal. Usually, the maximum tolerable loss is within 3 to 4 pixels of cinema projects.
Figure 2
Figure 3
Figure 4
From Figures 2 to 4, you can see the foreground after removing the mask, superimposed on the three-dimensional matching rendering, and the good environment material will be matched by the color matching of the post-compositor to form a complete Section of London street. Usually in the film production process, scenes with perspective changes need to be produced in three dimensions, but some projects with limited budgets or limited time will often use digital scenes and three-dimensional projection, which has a great contraction in production time and cost. However, there is still a certain gap in the perspective relationship and picture performance.
After the environmental streetscape is completely built, it is necessary to match the people in the environment with the moving objects. This process is commonly known as the race. Generally, a large number of extras are needed, but there are no conditions when the actual shooting is made, which requires post-matching scenes for breeding. Most of the time, the crowd animation rendered by cluster animation after the scene is restored in 3D. This operation is used in some street and battlefield scenes.
The car explosion in this one shot is the explosion of the scene, so the actual effect of the explosion does not require more operation in the later stage, and the focus is to deal with the light and shadow relationship between the matching environment and the explosion in the foreground.
Figure 5
Another set of close-up shots shows what to do later in the details of the vehicles on the spot. As can be seen from Figure 5, because when the Land Rover is on the scene, its smooth surface can reflect environmental information such as the scene, the camera and green screen of the scene will form an obvious reflection on the body and the car glass, and when the lens is obtained later, the wear part of the on-site body reflection needs to be repaired first. Because when the scene was filmed, the windows of the car had been destroyed in advance. In the later stage, the windows also need to be restored during production. In addition, the door panel of the rear part of the Land Rover has been broken, which is also the part of the wear gang.
Figure 6
In the production process, the information recovery of the surface of the car first needs to be erased from the piercing objects. After the picture is repaired, it is also necessary to extract the reflection information of the opposite direction of the street in the passage of the bright area in the car body. And the movement reflection of the people nearby above.
The production of other scenes after wearing gangs and masks and the production of the previous shot are correspondingly linked, and the production content and tone matching need to be unified.
Love to watch movies, love to create, I am Jun Ah Yong behind the scenes of movies. For more knowledge of film and television production, please pay attention to my follow-up updates.