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Posted on 10/10/07 5:45:20 PM

srowden
Detail Devil
Posts: 114

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Re: Contest 167: Studio work

Deborah Morley wrote:
Lovely image srowden

thanks deb.

I really like the shadows you added to the tiger and the underlying shadow it really brings out the realistic look. also shows the cameraman to be very brave getting that close to the tiger!

Posted on 12/10/07 01:39:33 AM

celosia
Wondrous Woolflower
Posts: 58

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Re: Contest 167: Studio work

I was going to use this background for another challenge but changed my mind and when I opened the files I downloaded for this challenge I opened it by accident and changed my plan... (partly cos it's getting late and my computer still isn't quite behaving itself properly, I think maybe I should uninstall a bunch of pre-installed junk and replace it with the stuff I know does the job) By the way, the people I added to the background aren't actually Trek actors, they're fans!

P.S. I got to pop into the hospital to fill in an occupational health form (the one they posted hasn't arrived cos of the strikes) and then they can give me a start date and arrange my induction. Can't wait!

(well, not looking forward to all the jabs but can't wait for the rest of it!)

Posted on 12/10/07 03:19:47 AM

JRogue2U@yahoo.com
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Posts: 22

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Re: Contest 167: Studio work

Alright I'm new here and this is my first Friday Comp so let me know how much you like my first attempt in this comp.....

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Posted on 12/10/07 08:45:21 AM

Steve Caplin
Administrator
Posts: 7025

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Re: Contest 167: Studio work

Plenty of inspired uses for a lone cameraman this week. Several of you fell into the trap of not placing the subject of your films low enough in the scene: that camera ends up pointing at a lot of midriffs. Watch where that camera's pointing!

First up was 2bfree, whose cameraman is perilously close to a tornado. It appears, however, that he's filming the empty sky next to it: sliding the tornado to the right would have helped here, and that sky's easy enough to stretch. Top marks for flipping the text on the back of the battery, though.

Beautiful work from chris berry, with an expertly faked moon landing. The quality of light, the man painting stars on the backdrop, the shadows - fantastic. The cameraman seems excessively interested in the astronaut's genital area, though.

A glorious set from tooquilos, with excellent animation - I particularly like the way the cameraman dodges about to keep up. The extra animated elements - like the two TVs - really add live here. My only small problem is that the stand on the light in the foreground goes behind the set and then reappears beneath it!

A very neat Jurassic scene from GKB - and it's interesting how you've managed to repurpose that dinosaur on the right three times with different results. Strange that, with all this going on, the cameraman should be so intent on filming a bush, don't you think?

A well concealed cameraman in Paul_Farr's entry, which shows exactly why pirate videos are such awful quality. A great idea, and the distortion of Harry Potter on the screen accentuates the effect well. Perhaps making the cameraman and the audience a little more in shadow would have helped with the clandestine feel.

Neat work from Elliott: Abe Simpson is well placed and shadowed against what looks like an entirely handmade stage. The reconstruction of the camera and its operator to match the Simpsons style is a fantastic idea - Marge's blue hair is a nice touch, but I feel something's going a little awry with the fingers. Again, watch the direction the camera's pointing in!

A great sepia effect from BigVern, with the camera pressed right into Norma's face. The good trick here was to fade the camera into a blur as it recedes into the distance, which gives a sense of perspective as well as blending it into the scene. Neat work, Vern.

Neil O has his camera pointing straight at the action - good aim! As to the horizon thing - well, it's a tricky one. As you've pointed out, we're looking up at the house, so much so that we can see beneath it. But then we have to assume we're standing in a ditch, with the cameraman - in which case, we're pretty much on target! And excellent blending in the second entry - thoroughly convincing.

A simple solution to the camera aiming problem from vibeke: rotate the camera so it's pointing higher. Well placed people in the scene, although lugging that picnic bench over the rocks must have been a struggle. A little softening on the hair to blend it in, and we'd be there. I do like the second entry - how quickly night falls in Sweden!

Perfect tonal matching from mguyer: his cameraman matches the hue, intensity and perspective of the scene to great effect. I know a tiny quibble is expected, so I'll just point this out: the base of the cameraman and his tripod extend a pixel or two below the main frame. Otherwise spot on!

Dazzling work from katew, with a beautifully reconstructed game show complete with Friday Challenge contestants and full name captions. Kate, this is splendid work - not just a great idea, but excellent execution. And here I was expecting damp clothing...

Trying to spot the film in vicho's entry. It's not The Godfather, which has the most famous wedding scene I can remember. A well placed cameraman here, although perhaps a little more shadow would have placed him more firmly indoors.

Hard to see what the heron's making off with in james's entry: something white on the deck, can't tell what. The movement of the boat and the cameraman's head, and especially the ripples, work well here; I'd have been tempted to keep the boat coming towards us until it went out of frame, though (although this might have caused some perspective issues close up).

We're very close to the action in dave.cox's entry: and the shading on the cameraman blends him perfectly in here. The best feature, for me, is the added green light on the camera, which adds a real sense of electronic zing to it.

A good use of green screen from Eggbox, with some neat extra touches - such as the snow machine beneath the table, and the TVs showing the composite effect. Watch the rotated text on the screen, though: that 'LIVE' needs to be sheared as well as rotated.

A beautiful shot, indeed, from srowden: and the silhouetting of the cameraman is just right. I might have added a faint glow on his hair from the lights, though.

So michael sinclair's cameraman has done a runner - and no surprise there. Lucky he's left his camera behind to record the scene! A great idea, Michael, and the tsunami looks perfectly threatening there.

Why a tiger? Well, it is a catwalk, after all... Deborah Morley's entry has a very brave cameraman indeed. Good text flipping, as well, and the view angle seems just right.

A great Star Trek scene from celosia - and I like the added fans. One problem with seeing crew members you've never seen before in Star Trek, though, is that you know they'll end up dead by the end of the episode.

A new member this week - and JRogue2U@yahoo.com is making up for lost time by incorporating three Challenges into one. And fantastic work it is, too: the statue of Hogg fits perfectly into the Punch and Judy background, and the camera's pointing straight at the action. Very clever stuff, James - welcome to the forum! I'm going to have to abbreviate your name in future though, it's wearing out my keyboard...

Nice work, everyone.

Posted on 12/10/07 11:33:25 AM

katew
Virtual Virtuoso
Posts: 681

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Re: Contest 167: Studio work

Thanks Steve! It certainly took a lot of layers again!

Posted on 12/10/07 12:58:50 PM

tooquilos
Wizard of Oz
Posts: 2898

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Re: Contest 167: Studio work

Thank you Steve for your comments.

You know, I didnt notice that light and took me ages to figure out what you meant...now its so obvious - it sticks out like a sore thumb

Posted on 12/10/07 1:10:00 PM

mguyer
Incisive Incisor
Posts: 799

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Re: Contest 167: Studio work

Thanks Steve, your comments are always appreciated. Marty

Posted on 12/10/07 1:46:58 PM

JRogue2U@yahoo.com
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Posts: 22

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Re: Contest 167: Studio work

Thanks Steve it was rather rough trying to figure out exactly where to place the camera to be able to focus on the scene finally ended up free transforming him and tweaking the camera up a bit wasn't easy at first I kept warping the cameraman at first instead of the camera

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Posted on 12/10/07 4:50:09 PM

srowden
Detail Devil
Posts: 114

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Re: Contest 167: Studio work

Thanks Steve I wasn't sure if the light on the head would matter since in real time and perspective the pier is a good 20-30 feet above sea level so the cameraman on the sand may may not have that light glow, but probably would have gave it more realism even if it weren't real time or what not thanks again for the comments! always much appreciated.

Posted on 12/10/07 4:50:30 PM

dave.cox
Marquee Master
Posts: 518

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