Hash Fellow robcat2075 Posted November 8, 2011 Hash Fellow Posted November 8, 2011 The first minute of this "Poirot" episode gives a great look of how a "glass shot" worked in studio filmmaking. A bit of a precursor to our "camera rotoscope" and "Layer" functionality. Quote
Hash Fellow robcat2075 Posted November 8, 2011 Author Hash Fellow Posted November 8, 2011 Now that I look at it again, it also has a bit of "foreground miniature" going on too, for the sand dunes. Quote
Wildsided Posted November 8, 2011 Posted November 8, 2011 You kids and your rotoscoping, in my day we had to make do with a piece of glass and some tiny models. Don't know you're born, none of you. Quote
Gerry Posted November 8, 2011 Posted November 8, 2011 That's a pretty cool little technical insight to work into the shot. Reminds me of a old western I saw one time where the big brawl between the good guy and bad guy went crashing through a mobile (horse drawn) photography studio. It wasn't mentioned, alluded to, or even a part of the story in any way, but they went smashing through, trashing big glass plates, large bottles of chemicals, etc. An interesting bit of creative set design. Quote
Hash Fellow robcat2075 Posted November 8, 2011 Author Hash Fellow Posted November 8, 2011 Here's a great glass shot from "Black Narcissus". Everything to the right of the edge of the platform is a painting. Quote
Hash Fellow robcat2075 Posted November 8, 2011 Author Hash Fellow Posted November 8, 2011 Here's a dissection of that top shot: Quote
mouseman Posted November 9, 2011 Posted November 9, 2011 Neat stuff. I always wondered how they got away with old school rotoscopes like that as far as their contents being in focus. Quote
Hash Fellow robcat2075 Posted November 9, 2011 Author Hash Fellow Posted November 9, 2011 Neat stuff. I always wondered how they got away with old school rotoscopes like that as far as their contents being in focus. They could be very big paintings so it could be far enough from the camera to not be a problem. However, as I read about the "Black Narcissus" shots, it turns out they shot the live action first with a black mask on the camera then reversed the mask and exposed the painting in a second pass. All "in camera". That must have been scary. Quote
fae_alba Posted November 9, 2011 Posted November 9, 2011 They could be very big paintings so it could be far enough from the camera to not be a problem. However, as I read about the "Black Narcissus" shots, it turns out they shot the live action first with a black mask on the camera then reversed the mask and exposed the painting in a second pass. All "in camera". That must have been scary. So they film one side, rewind the film, then shoot the other...that takes skill..off just the littlest bit with the mask and the whole reel is lost. I like doing things in A:M better. Quote
R Reynolds Posted November 9, 2011 Posted November 9, 2011 If you want to really get into matte paintings from the time before computers, try Peter Cook's matte blog; hour's of fascinating browsing with lot's of images like this one. Quote
thumperness Posted November 10, 2011 Posted November 10, 2011 If memory serves they did this for the final shot in Indiana Jones in the warehouse where the arc was stored. Also there were shots during the fight between luke Skywalker and his dad when Luke lost his hand. I believe these were glass paintings too. Quote
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