Tip #66: Special effects... that aren't too special.

By Dan Parkes (Director)

'Less is more' as they say and this can very true when it comes to visual effects. If you don't notice the effect, then it has served it's purpose. Ambleton Delight surprisingly contains many visual effects, from town name replacements and logo removals, to day-for-night shots, image stabilisation (to correct shaky dolly shots) and adding atmospheric elements such as smoke and rain. But there is only one obvious visual effect which is when a static picture in a newspaper transforms into an actual moving image that itself then transforms from day-to-night.

All the visual effects were completed using basic tools in Adobe After Effects. However, effects is not primarily about the software. The key to an effective effects workflow is to work backwards; firstly establish the desired end product in as much detail as possible (even storyboarding it) and then work out what elements and particular shots (maybe angles or durations) are required to achieve it.

Take a look at three basic effect shots we did and how they were done (click on the images for an enlarged version):

1. Ambleton sign replacement
We shot a master plate ensuring even lighting and no camera movement. The original letters from the Alfriston sign were then recreated to read Ambleton using primarily the clone tool in Photoshop. The new letters were then added to the shot in After Effects by motion tracking the image (as there is very subtle movement). Then the final shot is colour corrected -an important ingredient to 'selling' any shot that has elements from different sources. The village signs were so effective that many did not notice the difference...even the camera operator who shot it!

2. Logo/graffiti removal
There are dozens of shots in the film that had logos removed for one reason or another. In this example, a very obvious 'Christmas '08' is written on the fence behind the action in a scene which is supposed to take place in the late 80s or early 90s. So it clearly had to go! In After Effects it was removed frame-by-frame by masking out areas and replacing the graffiti with a cloned part of the fence.

3. Moving newspaper image
In this effect the lead actor opens a newspaper to an article and we then zoom in on the main picture of the restaurant which transforms into live action footage of a day-to-night time-lapse. This was accomplished by firstly filming a shot of the actor opening a real newspaper, inside of which we placed some green motion tracking markers. In After Effects we then tracked and replaced these with a digital article about the restaurant, complete with a headline, story and photographs. The main photograph is in a fact a freeze frame of time-lapse footage which in itself is a day for night effect shot.

For more information on the day-for-night technique, please refer to this earlier blog.

There are some great places where you can find tutorials on using After Effects. Here are some of my favourites:

http://www.videocopilot.net/
http://ae.tutsplus.com/
http://greyscalegorilla.com/blog/

Tip# 24: Visually interpreting the characters

By Sinéad Ferguson (Producer/Production designer)

As a production designer you must create a breakdown of the characters, in the spirit of the screenwriter who created them focusing on how the aspects are translated visually. What we wear, where we work and where we live is a reflection of who we are. Therefore we must apply our understanding of the characters to order to create their environments. Each location is an environment that reveals the lives of the characters and provides an environment that surrounds and embraces the characters as the story unfolds.

There is a direct relationship between the environment and the characters. Every space has its own nature and character. One of the primary locations in the film is the restaurant and this is the environment that reflects John and Kate personalities. The “Amble Inn” while traditional and old, obviously steeped in history, also possesses subtle modern and contemporary touches that reflect and project that a younger couple lives and works there and has had a hand in the decor. The warm, inviting and comfortable atmosphere of the restaurant is also a direct contrast to the Kitchen John’s workspace ,which is almost clinical by comparison. Stainless steel abounds and it is very much a functional space, everything has its use and its place, it’s ordered and practical. The kitchen like John has a cool exterior however once you get to know them, you find that beneath that cool exterior, they are both warm and creative.

Another point worth mentioning is that not every character lives in a contemporary time frame some remain in the styles of an earlier era. As seen in Chris’ grandmothers house, in particular the living room where the colour scheme, furniture, soft furnishings, ornaments and plentiful doilies are quite dated and are reflective of the tastes of an older generation. Chris’ bedroom is also a reflection of Chris’ confusion over who he is.The room itself suggests it has remained relatively unchanged since he first moved in with his Gran as a young boy after his parents passed. We see their picture beside his bed, we see drawings he did as a teenager and a keyboard.Yet in the mix there are hints of what he aspires to be,via movie posters, a camcorder and filmmaking books.

The colour palette of the film and production design, is inspired by the village and Mother Nature herself in the surrounding landscapes. Colours abound in the English countryside. You see everything from, rich autumnal colours, piercing sky blues,stormy grey clouds, green rolling hills to the muted earthy tones of rustic lanes.

But how can you keep the design costs down to a minimum? In my final post on production design I will tell you how we did it.