A shoot for Invisible Cars

Hi guys! Just wanted to bounce some ideas off. I’ll be handling a project that is very similar to this spot here: Peugeot / Invisible on Vimeo
Seems like a ton of work but hopefully production can make things easier for me. I believe it’s done with many layers and a ton of plates. I’ll get them to plaster the rig with markers too. Hopefully the director won’t go wild with the camera movements.
Any of you guys have done something similar that can advise what else I should look out for?

You’ll be rebuilding everything that the rig covers, which, will be much more than you think. Skin, fabric, maybe some hair, cloth, road, ground textures. And you’ll be rebuilding shadows 100%. On everything.

1 Like

yeah i guessed as much. is there anything I can flag out during production that will make this job easier? i will make them take a ton of plates for sure

1 Like

Every shot is going to be so unique in nature. I’d work closely with the VFX supe to come up with some scenarios that are starting points, but you’re gonna need to wing a few things based on talent, wardrobe, number of talent, lighting, camera movement, and shadow contamination.

If you only tell production to shoot plates, they’ll response will likely be “of what exactly?” So, it’s likely not quite precise enough.

Your risk here is mostly in complexity of what you need to rebuild, and making up convincing ground shadows from nothing. In other words, where am I getting her clean inside left leg from and it’s gotta be tracking, deforming, changing lighting, and flapping in the wind, and what on earth does its shadow look like?

I’d take the storyboards and break down every shot into easy/medium/hard, and get outsource roto companies scheduled, and build a precise starting point for you, 2d team, VFX supe and possibly some 3D generalists to make proxy geo and cg floors/roads.

1 Like