From American Cinematographer, Tearing up the Town by Ron Magid (December 1998)
"Originally, [ID4's visual effects supervisor] Volker Engle wanted to do teh Wall of Fire with a cloud tank effect coming toward camera, which looked good but not real. [Director] Roland Emmerich was adamant about having a tidal wave of fire going down the city blocks. I said, 'The only way that fire is going to do that is if we fudge the set.' Fire has only one way to go, and that's up. So we locked the camera onto the ceiling and just tipped the street set sideways so this fireball would come right at the camera."
- Joe Viskocil, Miniature Special Effects Supervisor on Godzilla
"If it's really flimsy, you're going to get a lot more information on film, because you can use a small charge-- small in the sense that it's not a really fast explosion. The slower the explosion, the more information you're going to get on film and the more detail you're going to see. You also have to keep it all in frame!"
- Joe Viskocil, Miniature Special Effects Supervisor on Godzilla
I read, discuss, and discover new things about cinematography everyday. Most of it, I consider incredibly interesting. Everyday I will share one of those things, maybe more if I have time.
Showing posts with label fire. Show all posts
Showing posts with label fire. Show all posts
25.5.09
Ueli Steiger: Faux Flames
From American Cinematographer, Monster Mash by David E. Williams (June 1998)
Grce notes that effective faux flames were done with lamps fronted with a double layer of Rosco golden amber gel and running on either Magic Gadget flicker generators or programs created by dimmer board operator Dave Slodki.
Grce notes that effective faux flames were done with lamps fronted with a double layer of Rosco golden amber gel and running on either Magic Gadget flicker generators or programs created by dimmer board operator Dave Slodki.
14.5.09
Frederick Elmes: Firelight
From American Cinematographer, A Less-Than Civil War by Douglas Bankston (November 1999)
"Gaffer Jonathan Lumley and I tested some flicker-box systems to create 'fire-light.' In most of the campfire scenes, we would use 2k lamps with some gel on them, sometimes down on the dimmers a little bit to warm them up even more. With diffusion, it would make a source that was four by eight feet. I could put it 15 or 20 feet away, and it would give me the quality of light I wanted. Also, because the source was big, it would give me the flickering I wanted. It was just a matter of moving it around so that it worked on the actors' faces most effectively-- in addition to having some sort of real flames and smoke in the foreground to make it convincing. It also helped to have six other fires going on in the distance; they could be lighting five people in one spot, a tree in another and two tents nearby. That would give me control over the background."
-Frederick Elmes, ASC
"Gaffer Jonathan Lumley and I tested some flicker-box systems to create 'fire-light.' In most of the campfire scenes, we would use 2k lamps with some gel on them, sometimes down on the dimmers a little bit to warm them up even more. With diffusion, it would make a source that was four by eight feet. I could put it 15 or 20 feet away, and it would give me the quality of light I wanted. Also, because the source was big, it would give me the flickering I wanted. It was just a matter of moving it around so that it worked on the actors' faces most effectively-- in addition to having some sort of real flames and smoke in the foreground to make it convincing. It also helped to have six other fires going on in the distance; they could be lighting five people in one spot, a tree in another and two tents nearby. That would give me control over the background."
-Frederick Elmes, ASC
Subscribe to:
Posts (Atom)