Love that ariel shot with the circular pattern etc - looks lovely :) We do need to delete the 'you are here sign' from that shot - indeed from all shots that don't require us looking at it (as in the previous shots). It just hangs there to make those shots work, but doesn't need to exist in the space at any other point - it's like the destination board we see at the beginning of The Overture - we're shown it, but it never features again - and that's absolutely fine because the audience doesn't care and isn't looking for it.
Also - Shot 20 is a mid close-up of Red "Shot begins with Red looking happily at You Are Here sign - we see his eyes looking this way then that, as if he is looking at the different zones on the sign. We then see him glancing left and right, suddenly anxious, as around him, the other visitors begin to pack more closely around him. It's suddenly getting busier!" There's a camera move towards Red's face here - I'm assuming Shot 20 here is the backdrop to the Close-up of Red and the extras? If so, can you include the push - some of the other DLs are importing Red into moments like these as guidance - and it also makes approving shots like these more straightforward because it makes sense of what might otherwise seem to be 'the wrong shot'.
Love that ariel shot with the circular pattern etc - looks lovely :) We do need to delete the 'you are here sign' from that shot - indeed from all shots that don't require us looking at it (as in the previous shots). It just hangs there to make those shots work, but doesn't need to exist in the space at any other point - it's like the destination board we see at the beginning of The Overture - we're shown it, but it never features again - and that's absolutely fine because the audience doesn't care and isn't looking for it.
ReplyDeleteAlso - Shot 20 is a mid close-up of Red "Shot begins with Red looking happily at You Are Here sign - we see his eyes looking this way then that, as if he is looking at the different zones on the sign. We then see him glancing left and right, suddenly anxious, as around him, the other visitors begin to pack more closely around him. It's suddenly getting busier!" There's a camera move towards Red's face here - I'm assuming Shot 20 here is the backdrop to the Close-up of Red and the extras? If so, can you include the push - some of the other DLs are importing Red into moments like these as guidance - and it also makes approving shots like these more straightforward because it makes sense of what might otherwise seem to be 'the wrong shot'.
OK. I'll delete the sign, no problem. And yes Shot 20 is the backdrop. I'll import Red to make it easier.
ReplyDelete