It’s a Sunshine Day May 27, 2008Posted by William J. Meyer in Jack's Post-Production.
Last night four scenes graduated to their third iteration. Which means I check off the little box in my spreadsheet and move on to another scene. I’ve learned it’s really quite helpful to get a vfx shot into the cut as early as possible in the shot’s evolution. Seeing the context of the cut, and the various vectors that lead the eyes, can really save time. Invariably it exposes which areas of an effect will be overlooked, or forgiven, by the overall momentum of the scene.
I hope to check off more little boxes before the weekend.
I was thinking a little about this post while animating and editing at work today. The deeper implications touch on such topics as the original matte painters, Scott McCloud’s theories, and a recent interview with director Brad Bird.
Those fantastic matte painters (I’m thinking of Byron L. Crabbe’s work on King Kong, Fitch Fulton and Mario Larrinaga’s stuff on Citizen Kane, and that beautiful warehouse at the end of Raiders of the Lost Ark, I believe by Alan Maley) understood that it wasn’t about the amount of detail in a painting, but the controlled location of that detail. That is to say, it is better to invoke an environment rather than fully delineate it. Likewise, in his terrific and wide-reaching book Understanding Comics, McCloud goes on at length about how powerful identification can be when the subject is merely suggested, rather than fully realized. And while I was thinking about these issues my daily blogroll led me upon this interview extract with Brad Bird who sums it all up succinctly:
“Not all shots are created equal. Certain shots need to be perfect, others need to be very good, and there are some that only need to be good enough to not break the spell.”