Moving shots against a reflective surface. . . what's the best approach?

[Stephen Pruitt]

Hi all. . .

We've got a very shiny black car as our prop (very impressive Lexus SUV), and we'd like to do a moving steadycam shot around the car starting from the driver's side and ending at the driver's side.

The problem is that the car is very shiny and I'm afraid that we'll be able to see the moving rig in the shot.

Are there ways to deal with this effectively? One thing I thought about doing on night shots was to just throw a black hood over my whole body. But the daytime shots seem a lot trickier. Other than always shooting at an angle, is there anything that might help reduce these reflections? Anyone ever use dulling spray on a whole car?

Thanks.

Stephen

 

[Subhadip Sen]

Most modern cars are designed aerodynamically, and hence shaped at an angle. Sadly, the SUV is normally taller and more rigid, though the windows shouldn't be a problem. You can try using a polarizing filter. They are often surprisingly effective at eliminating reflections - especially off things like car windows. I am not sure about "dulling agents". But the best strategy is always to shoot cleverly and at angles.

 

[Richard Foster]

A Black Car is a mirror, you simply have to find angles you cannot see your rigs in. Dulling spray will not work as it will make the car surface dull, and you'll need a ton of cans, and if you touch it accidentally it will smear and show marks. The black could work at night, but day or night you need to look carefully, find the right angles, and if you see yourself find a way to camoflage yourself and your rig into the reflected background.

 

[Michael Romano]

You can try using a polarizing filter. They are often surprisingly effective at eliminating reflections - especially off things like car windows.

He's onto something with the pola, but I would also use it in conjunction with black clothing and a black backdrop.

The other way is to have a very busy background that a camera operator will just fall into. Still wear black and watch for your angles.

 

[Marc Wielage]

The problem is that the car is very shiny and I'm afraid that we'll be able to see the moving rig in the shot.

In car commercials, they routinely budget for CG to digitally remove reflections in the windshield, side panels, and chrome bumpers & hubcaps. The rest of it involves careful angles, precise lighting, and making the crew all wear black (or non-reflective gear).

In my experience, dulling spray just reduces highlights, not reflections per se. Shoot a lot of tests.

I've been amazed how often black SUVs are used in shows like 24, and experienced DPs like Rodney Charters and his crew manages to avoid reflections, week after week. Some of that is VFX post, but 90% of it is great cinematography.