Above: Re-lighting a shot. Much of our work in post-production is about enhancing the image.
Above: An effects breakdown from All That Remains. The actor is filmed against a green-screen and the bomb is a CG render of a 3D model. The final image shows the two elements as they appear in the film, composited into a digital set-piece.
With all the green-screen technical wizardry at our disposal, there are times when we feel shooting at a real location would suit a particular scene or story better, and we’ll send out the scouts to find the perfect location, even if that location happens to be a demolition site!
We never opt to use one way of doing something, it’s more fun to keep people guessing.
Below: With the set-piece ready, the next stage is to composite it with the actors and any other live action elements and “sell the shot”.
Above: Green-screen work requires us to create backgrounds and virtual set pieces for our actors to inhabit. We mainly use a mixture of 3D models and photographic elements to create these.
Sometimes the old ways are the best
Special Make-up effects are one of those areas where you can’t beat the old way of doing things, and to that end we work with a team of highly skilled make-up artists on all our productions.
Chroma Keying is a technique we use a lot. Chroma Keying is where we film an actor against a green or blue backdrop (or on occasion make do with blue sky or the greenery of trees and grass!), and using specialist software, the green or blue colour is removed from the shot to leave us with a transparent background. We can then superimpose the actors into any setting we want.
Chroma Keying allows us to be even more creative with less budget limitations and also allows us much more creative freedom in post-production. We’ve become something of a specialist at working with Chroma Keying.