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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 :)

Some EPIC Bruce Willis Bank Spots

Christopher Probst

Christopher Probst

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Hey folks,

Here's a two out of three spots I shot this January for a Russian Bank starring Bruce Willis.



Again, 2012 is the year of anamorphic and Epic! I have two movies coming out that were shot with Red cameras and anamorphic lenses... This first flick is Joseph Kahn's Detention, which comes out this April 13th in select theaters..

http://www.reduser.net/forum/showth...ion-Red-One-Anamorphic-feature-by-Joseph-Kahn

The second film is called Fire With Fire and comes out later this year as well AND coincidentally also features Bruce Willis in the cast along with Josh Duhamel, Rosario Dawson, Vincent D'Onofrio. Shot this last summer in New Orleans on Epics and Hawk V-Lite anamorphics... Just did the DI last week and the Epics look amazing!

Keep shooting peeps!
 
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Yes, we had Bruce only for 2 days to shoot three action-themed spots... The car chase and bus were one day, and then an intense nighttime rooftop stunt one was another day. Live action plates and stunt doubles comprised 2 other days of work. The obvious trick is to match the lighting so Bruce didn't seem completely out of place... All things considered, I'm pretty pleased with the results, though I may color them a touch warmer.
 
Great work Christopher.
Cheers
 
that's really cool. must be great to work with Bruce and other actors that you grow up watching.
 
nice Christopher! I liked how you lit Bruce. Did you use any streak filters? Was this all done in studio?
 
Wow! I can't even wrap my head around this level of compositing work. Great Job!
 
The final spot won't be released until the summer...
 
Christopher Probst said:
Yes, we had Bruce only for 2 days to shoot three action-themed spots... The car chase and bus were one day, and then an intense nighttime rooftop stunt one was another day. Live action plates and stunt doubles comprised 2 other days of work. The obvious trick is to match the lighting so Bruce didn't seem completely out of place... All things considered, I'm pretty pleased with the results, though I may color them a touch warmer.
Click to expand...

Hey was the green screen indoors in a studio/set? Or outdoors on location? Always fascinated by this kind of workflow.

Again, tremendous job.

I only dream of getting to the place you are. Super cool dude.
 
Greenscreen was all shot inside on stage. We had a pretty big U shape of around 30' x 140' around the bus that was also used for the car elements, though it didn't need to be that big or the cars.

A separate set for the final rooftop spot, wjich comes out this summer, had a roof set built up on 20' platforms and also surrounded by 30' x 100' of green.
 
This is all very nice.

Questions for the green screen work, what do you use to light from above.

Since I come from the post side of things, I might missed something but I find it odd that DP's usually use white space lights when lighting green screen studio to simulate outdoor l top light. Especially for commercials where a blue sky usually is the standard.
I usually find the white top light stuff hard to match with the outdoor backplate especially when its people and skin tones.... it usually then looks a bit pale when composited, kind of like they where standing outside in a very soft light / cloudy day or no shadows kind of day.

So when I saw Peter jacksons setup with all space lights in the roof having blue filters underneath I was very pleased. Since I guess thats done to simulate the light from a blue crisp sky. The sky is very much sending down a cold light, just as much as having a huge blue reflector or such. So to me the blue top light seams like a smart move.

Especially since the green chanel, after the key process is pretty much gone. it seams vice not to bleach the blue and red channel of the skin tones. Bosting the blue from above would not only simulate blue sky light it also give more dynamics for the blue and red chanel.

S basically Im just curious how you do it since you seem to have your stuff very much together, blue or white top fill lights was the question :)
 
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