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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

A milo / epic project we did this sping.

Bobby Farokhzad said:
Outstanding, very well done.
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Thanks.

I just realize that this youtube version does not loop, half the trick was to make a never ending thing that also had differences cut in. But that I guess they only use for the banner/ webpage.
 
What? Whaaaaaa? Bjorn that was amazzzing! Not sure what to say here. So many "how did they do that?" moments. Seriously... How did you do that?


(BTS link returns "you do not have permission...")
 
Love it. A living mobius strip.
 
Awesome!

Someday I WILL shoot something on a milo.

I'm really intrigued by mixing miniatures and live action by scaling down the motion paths...

Looked great!
 
Terry Delahunt said:
Looks like a lot of fun. Excellent work.

Is there another way to see the BTS, as permission is needed for your link?
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The links should work now, but here are some direct links:
BTS: https://vimeo.com/68530183




Also thanks for all the kind comments, I was a bit frustrated in the progress. As normal with complex jobs like this there is so much things that could have been done differently and better. We also did two films like this, in the second one the little guy is actually walking and talking to the camera which added complexity to say the least, as some layers where used for both films and needed to fit in timing etc, luckily the kid showed up to be a super goog talent that could just do his lines perfectly on cue every time and so on.

So now when the stress has calmed down and a few months passed I got some distance to it all so now I do not see all the ugly keys, color mismatches, timing issues and non perfected camera moves and other things that really bothered me before. Something that is good to remember for next job... Basically in the end those details never really matter, lol.

The most exiting learnings from this project was that I figured out how we can steer motion blur/trail with the epic and also do camera varispeed alon the camera path. Epic is the first digital camera that allows me to do so. So such trix has been on ice since we ditched our S35 mitchell and when doing such things with a film camera things was quite stressfull because it was then all done blindfolded as we could simply not replay what was shot. So in that regard digital has now really passed shooting on film.

We posted it all in 5kANA squeezed, 1350 in height which looks really well. Love that format as the pixel count is not to high and the pictures get really good in quality from the vertical 2x down sample.
 
Great work. What method did you use to separate the different takes roto or another method, I,m looking to something similar but not as complex as you have done.
 
Paul Harding said:
Great work. What method did you use to separate the different takes roto or another method, I,m looking to something similar but not as complex as you have done.
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I used mostly small non lit greenscreens like 240x180cm boards to stick "in between layers" and then we also had some big 6x6m green screen cloth that we used to cover bigger things. But we did not alter the light at all to improve it so in then end as always there was a lot of root work that had to be done. In retrospect I think less chroma should have been used, and I should probably saved my self some a good chunk of change if I sent all the clips off to a remote roto place as we had so uch to mask out. I always aim to keep things inhouse but some times it's actually bette to send of stuff and have it done quicker for less money in some part of the world where taxes and salaries are not as astronomical :)

With the milo it always possible to shot clean passes which helps as we then can use different matting and such. So it makes things a bit different than shooting with moving camera thats not repeatable.
 
My preference is to use roto over chroma if objects are moving fast enough. Using chroma has advantages but they introduce problems like altering the lighting. Even a bad roto won't show up in a shot like this because so much is going on.


Björn Benckert said:
I used mostly small non lit greenscreens like 240x180cm boards to stick "in between layers" and then we also had some big 6x6m green screen cloth that we used to cover bigger things. But we did not alter the light at all to improve it so in then end as always there was a lot of root work that had to be done. In retrospect I think less chroma should have been used, and I should probably saved my self some a good chunk of change if I sent all the clips off to a remote roto place as we had so uch to mask out. I always aim to keep things inhouse but some times it's actually bette to send of stuff and have it done quicker for less money in some part of the world where taxes and salaries are not as astronomical :)
Click to expand...
 
Bob Gundu said:
My preference is to use roto over chroma if objects are moving fast enough. Using chroma has advantages but they introduce problems like altering the lighting. Even a bad roto won't show up in a shot like this because so much is going on.
Click to expand...

Agree but as the camera moves that means that your splines has to follow the perspective change etc. Then all the chairs under the table and other things parallax in a way so that the splining process needs to be set up with 3D tracking then it can be quite time consuming. But again if you send it all off to india or such, where they actually have the best roto people in the world it's usually no problem. still then a gray screen can be a big help, it does not alter the lights to much but gives those delicate edges a better chance.
 
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