Tessera led9/10/2023 ![]() ![]() “The director and the clients were happy as they could see the character in the environment that it was supposed to be in and tell the story in the best possible way,” said Rendell. Once all the parameters had been worked out, it was easy to execute the planned shots on a soundstage within a day, and in-camera. As all the action had to be filmed from within the car, a Cooke 65mm T2.6 Macro camera was chosen for its excellent close focus distance properties. This not only looked great, but also prevented moiré issues from the LED panels. “This enabled full flexibility of the car orientation relative to the screen and camera angles during the shoot.”įorster’s decision to shoot in anamorphic mode for a more cinematic look offered a far shallower depth of field at the same angle of view, meaning that everything outside the focal plane became a lot softer. “The main thing that the Brompton processor helped with during the project was the ease of positioning and scaling of both screens within the 4K camera footage,” added Rendell. “Additionally, having the video content displayed on an LED screen created a realistic environment for the talent to act in and interact with, resulting in authentic performances.”īrompton’s Tessera SX40 4K LED processor ensured the LED screen looked flawless and the pre-filmed content was perfectly translated onto it, with accurate scaling and colour. “Having the footage shot at the chosen time and location ensured that the same scene could easily be recreated over and over again, with moving reflections and light outside the car windows perfectly in sync with the action inside of the car,” said Rendell. It was then all seamlessly stitched together before the shoot to play properly scaled on the LED screen backdrop. After analysing all planned camera angles, the team shot the 180-degree background plates with a multi-camera rig, as well as a prosumer VR camera. Working with post-production company Framestore, the team considered aspects including LED pitch, moiré issues and panel diffusion, colour accuracy, as well as frame synchronisation and high-resolution playback. The LED wall served both as the moving backdrop and the main lighting source for the car interior and actors, removing the need for extensive on-location shooting and offering realistic ambient lighting effects and controlled, accurate reflections everywhere – even in the actors’ eyes. The TDC team collaborated closely with the DP Ginny Loane to build what became Australia’s first 180-degree LED cyclorama, featuring ROE Carbon 3 3.75mm LED panels.
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