Digital Video - September 2008 - (Page 25)

INSIDE OUTSOURCE actors with real props and puppeteers would be more organic and genuine than if he used animated probes. Once the effects were completed, Trezise turned to the audio department to bring Outsource alive. He looked to Neil Uchitel to provided a detailed sound design that created unique spaces for each cell and the Earth-set action. Uchitel had the added challenge in a dialogue-free film to fill the empty palette with the right selection of sounds to create the science-fiction world as well as emphasize the performances. Trezise took the more than 100 tracks of audio Uchitel provided and combined it with a purposely subtle score by Scott Clausen and Christopher A. Lee. Outsource was completed with a 5.1 surround theatrical mix at Todd-AO and final color timing at Modern VideoFilm. To date, Outsource has played in more than 30 festivals. For Trezise, who is making the transition to writing and directing with this project, it’s more than just a short film. “The movie was designed to push me in all the ways I’d been developing,” he says. “It’s been a huge learning experience. Through the various screenings Outsource has had, I’m excited to see that it not only impresses audiences visually and audibly but emotionally as well. That is my greatest thrill as a director.” DV In a completed effects shot — with the red puppeteering handles removed — two floating HPU probes make first contact. shots that he needed to remove from the frame. “You can do almost anything you want if you get a clean plate lock-off,” he says. “This film is almost all lock-offs, but it doesn’t feel like that.” This approach also enabled Trezise and Glassing to efficiently push through a great number of setups. Having clean plates was particularly critical for the Earth-set scenes — where the probes are operating for their “masters” — because, on set, each “floating” device was attached to a pole, painted red to separate it more clearly from the background, and operated by a puppeteer; the pole and puppeteer both had to be removed from every shot that featured a probe. In post, the visual effects team used rotoscoped splits between the hero plate and the clean plate to create the final composites of the freefloating probes. Trezise chose to shoot the probes as puppeteered props rather than use computer animation because he knew the virtual sets of the HPU cells were going to require most of his post resources. He also felt the performances and interaction of the You’ll find an extended edition of this story featuring post detail on our site. Visit DV online. http://www.dv.com http://www.kinoflo.com http://www.kinoflo.com http://www.kinoflo.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

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