Digital Video - September 2008 - (Page 19)

the HPU’s cell to be displayed across dozens of video monitors that make up its walls. Although these cells are part of an enormous construct, the slaves within each are totally unaware of their lot in life — until one male (Judson Pierce Morgan) accidentally glimpses a reflection of the female (Kelly Overton) in the cell next to his and realizes their dire predicament. As a visual effects veteran, Trezise chose to put most of his budget into production, not relying on freebies or favors. “I can survive a long post,” he says. “I’ve done that time and time again in my career. But because the production was going to be so technically complex, I needed to make sure that everyone would be on their game.” Trezise called on producer Brady Nasfell of Sodium Entertainment to help recruit the right cast and crew. To create the futuristic suits worn by the two humans in the cells, Trezise turned to Jose Fernandez, whose credits include costume designer on X2 and costume sculptor on Hellboy. Fernandez used the same techniques he would have used to create a superhero suit, taking body casts of the two actors, then building form-fitting rubber suits for them. The costumes and props were major expenses for the production, costing roughly $40,000, but also set the bar for the production value Trezise would later strive to maintain. The costumes were designed with post in mind. Trezise shot the two actors suspended on wires against black instead of traditional green screen. Trezise explains, “I worked out a method of keying off of black that gives me much better results than keying Shooting on stage with actress Kelly Overton. Below, writer-director Dan Trezise. off of green.” Trezise asked Fernandez to design the suits so they would have very few dark features, to achieve the greatest contrast between the characters and the black background. Additionally, Fernandez carved grooves into the surface of the costumes, then painted the bottom of the grooves green so that the effects artists would later be able to pull a key on them and add a pulsing energy wave effect. Finally, Fernandez incorporated a highly reflective material that would create a third keyable feature when illuminated by a donut light attached to the lens of the camera. In the end, Trezise had three separate keys: black for keying the characters, green integrated into the costumes, and another from the reflective material. Trezise and cameraman Ken Glassing chose to shoot Outsource with the Thomson/Grass Valley Viper, capturing directly to hard drives in the camera’s FilmStream mode. “We chose the Viper because because it had the greatest range,” explains http://lcdracks.com http://lcdracks.com

Table of Contents Feed for the Digital Edition of Digital Video - September 2008

Digital Video - September 2008 Contents Discproducer PP-100 Frameforge 3D Studio 2 First Cuts Expodisc Bird's-Eye View Instant Expert Inside Outsource Red in Combat Tools & Technology My Studio DV101 Production Diary

Digital Video - September 2008

For optimal viewing of this digital publication, please enable JavaScript and then refresh the page. If you would like to try to load the digital publication without using Flash Player detection, please click here.