Date: Mon, 12 Apr 1999 09:57:33 -0700 From: Charles Henrich <henrich@flnet.com> To: "Daniel O'Connor" <doconnor@gsoft.com.au> Subject: Re: Charles Henrich a Star? Message-ID: <19990412095733.B5248@orbit.flnet.com> In-Reply-To: <XFMail.990412182634.doconnor@gsoft.com.au>; from Daniel O'Connor on Mon, Apr 12, 1999 at 06:26:34PM %2B0930 References: <199904120849.BAA33235@rah.star-gate.com> <XFMail.990412182634.doconnor@gsoft.com.au>
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On the subject of Re: Charles Henrich a Star?, Daniel O'Connor stated:
Note, if you havent seen the film, Im talking about scenes below :)
> You can do that without computers (well.. they assist)..
>
> What they do is have a line of cameras which are synced together, and
> instead of playing the film from one camera you play one frame from the
> first camera and one from the second etc.. So the object appears frozen in
> time, but the camera moves.. Of course they use computers to interpolate the
> frames inbetween, but hey :)
The camera rig is run byt computers :) Our rig doesnt have the cameras sync'd
together. We can vary when each camea fires at will. So for example in the
Trinity Kick if you look you can see her arms and fingers moving, all of our
"Flo-Mo" sequences were actually running forward in time (no stills), just at
immensly fast frame rates, I think some of them were virtually 1000fps. We
then used lots of bits of software to do interpolation, and even some paint
work to clean it up. The most amazing of them all as far as technology goes,
is in the sequence where Laurence Fishburn gets shot in the leg was done from
something silly like 6 original frames of film. We have an amazing crew of
VFX folks here!
-Crh
Charles Henrich Manex Visual Effects henrich@flnet.com
http://orbit.flnet.com/~henrich
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