FILM NEED FOR SPEED ONLINE MOVIE
Night aerial work was an important feature for us to open this movie up. Now this light that I described is all ready for cinematic capture. You do not have to “Hollywood” the effects, with lighting gags like we have done for decades. This camera enables you to light how your eye sees it. We lit a drive-in sequence with the bounce off of the 60 foot screen from a 2K Xenon video projector with the actors 150 feet from it. No monster cable runs, just a lot of red gas cans. Let’s add a back light down this alley on a roof.” Very minimal and they were all powered by putt putt Honda generators. Let’s add an accent light on that fire escape. It was lit by turning off street lights, spraying them down with black hairspray because they were a little too bright and then looking at the course and saying, “let’s add some neon in that store front. With our tight schedule and budget, I knew that I could light 4.5 miles of a street racing course with no condors and no huge generators.
FILM NEED FOR SPEED ONLINE ISO
We could increase the camera’s ISO to 4000 and not have much noise. In our camera tests, we found that the C500 saw into the night sky and had much more subtle color and shadow detail than the Alexa. To shoot all night interiors and exteriors in the film, we chose the C500. With all the accidents, explosions, crashes, etc., it was necessary to tell this story. This camera would do this at a HRAW, which we tested and loved. The job required a camera that could handle the rigorous abuse of the hard rigs mounted to cars going in excess of 180mph, flipping over, locking it up, etc. Remember the back seat of a super car is the engine. We needed a compact camera that we could embed into the super cars that had no back seat or passenger seat. This is where Kevin Baillie, Atomic Fiction and Sean Cushing at Cantina Creative came in and hand painted out every camera, camera person, wire, rig and pipe ramp. When you have 32 cameras capturing one stunt event, they are bound to see each other. There was CGI in that the style of shooting is what we call blue on blue photography, a military term held over from Act of Valor, which means you shoot yourself. Now you say post? “I thought there was no CGI.” I hear you all saying this. Our schedule was almost unachievable and we realized early on that this would be essential for post and for our director. We needed a camera that could shoot 4K resolution for reframing and possible zoom ins in post to give us the feeling of a different lens. With this directive, we were looking for a camera that delivered a very realistic look, but was beautiful, captivating, and provided an image filled with vitality, youth! Using a camera that no one had seen on the big screen felt just right for our story.
FILM NEED FOR SPEED ONLINE DRIVER
If a car went rolling off a bridge on fire, the driver did not jump out of the car in mid-air, grab hold of the light pole, grab a hot chick in mid-flight and land 300 feet below unscathed. You can find all of our camera tests linked from the Need for Speed page.ĭirector Scotty Waugh wanted to do this whole movie practically, without CGI cars, planes, choppers, etc.
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Need for Speed was shot on four different camera sensors.Īfter extensive camera tests, the Canon C500 was selected as the A camera for Need for Speed. It will also give you insight into how we pulled everything off.
![film need for speed online film need for speed online](https://i2.wp.com/aftercredits.com/wp-content/uploads/2014/02/NeedForSpeedPoster1.jpg)
This post will give you an inside perspective on why certain creative decisions were made by director Scotty Waugh and me. Was it the right way to tell this engaging story and immerse an audience like they had never seen before? YES. IMPOSSIBLE! Was it easy to mix these formats? No. Many people thought I was off my rocker taking a small untested still camera and blowing the 1080 image up onto a 60 foot screen. On Need for Speed, like Act of Valor, we used many different camera sensors and camera formats to tell the story. What does this all mean? It means that the old days of making a movie with one camera manufacturer is not the wave of the future.īeing a pioneer, one who takes the trail that has not even been traveled by goats, is exhausting, difficult, exhilarating, creative and fulfilling all at the same time. Each brush had unique attributes and abilities that we used to paint a beautiful creation. We used an array of sensor brushes to tell our story, not just one brush. Seven thousand screens in the US will project a film that, in my opinion, is the future of filmmaking. March 14th is the domestic release of Need for Speed in 2D and 3D. In a few days, all of you will be able to see what I have been discussing on the HurlBlog for over a year.