Post by ChrisM on Aug 29, 2014 11:19:21 GMT -5
We may have discussed this a few years ago, but here are mine (don't confuse this with matte or bluescreen):
STM: there is one shot in particular during the night flight with Lois as they are rounding the statue of liberty. It's actually a pretty long shot compared to some others... but it's also one of the few where the actors rotate on the Y axis instead of the Z axis. The lighting is spot on, his cape is moving like it's in a stiff wind, and for the longest time I was convinced that they were somehow on wires hoisted way over the ocean (call me naive).
STM: this shot is so quick - less than a second - that most of us probably never can appreciate it. Just before he grabs the helicopter, Reeve and Lois are flying very quickly up "towards" the camera - the zoptic lense zooms in rapidly to create this effect. I wish the shot was just a tad longer because Lois' "scared sh!tless" expression is priceless.
STM: one of everyone's favorites is probably the aerial dance as he takes off and says goodbye to Lois after the big rescue. It's a neat scene, accomplished by rotating the zoptic in the Z axis mirrored to the stock footage - but it's mostly driven by the score. It would have been more technically impressive to make better use of the "Hotel Coop" miniature that we see briefly at the end. Maybe they could have placed the miniature on a mobile pallet to create a greater illusion of depth - by seeing the building close up in the foreground and translated into the distance and eventually out of view. Quick trivia: this is also the same miniature that was used in the Daily Planet shot when the curtains open. They just replaced the globe with the hotel sign. Inventive.
STM: there is a brief 1 second clip where we see a determined Reeve coming towards the camera as he chases the rocket (just before the matte where both superman and the rocket are in view simultaneously). Probably the best daytime zoptic in this film. Great sense of speed - something that some probably wished we saw more of.
On a different tangent - I don't know why they used the zoptic for the flying scenes when Supes races to find Lois. They didn't use any rotation or zooming - it just looked like he was in front of a projection screen. If you're not going to take advantage of the zoptic lense, then you're better off with bluescreen or miniatures.
S2: can't think of any for some reason. Maybe one brief shot as he flies down into the streets of metropolis?
S3: Flying into the canyon (definitely the best daytime zoptic)
STM: there is one shot in particular during the night flight with Lois as they are rounding the statue of liberty. It's actually a pretty long shot compared to some others... but it's also one of the few where the actors rotate on the Y axis instead of the Z axis. The lighting is spot on, his cape is moving like it's in a stiff wind, and for the longest time I was convinced that they were somehow on wires hoisted way over the ocean (call me naive).
STM: this shot is so quick - less than a second - that most of us probably never can appreciate it. Just before he grabs the helicopter, Reeve and Lois are flying very quickly up "towards" the camera - the zoptic lense zooms in rapidly to create this effect. I wish the shot was just a tad longer because Lois' "scared sh!tless" expression is priceless.
STM: one of everyone's favorites is probably the aerial dance as he takes off and says goodbye to Lois after the big rescue. It's a neat scene, accomplished by rotating the zoptic in the Z axis mirrored to the stock footage - but it's mostly driven by the score. It would have been more technically impressive to make better use of the "Hotel Coop" miniature that we see briefly at the end. Maybe they could have placed the miniature on a mobile pallet to create a greater illusion of depth - by seeing the building close up in the foreground and translated into the distance and eventually out of view. Quick trivia: this is also the same miniature that was used in the Daily Planet shot when the curtains open. They just replaced the globe with the hotel sign. Inventive.
STM: there is a brief 1 second clip where we see a determined Reeve coming towards the camera as he chases the rocket (just before the matte where both superman and the rocket are in view simultaneously). Probably the best daytime zoptic in this film. Great sense of speed - something that some probably wished we saw more of.
On a different tangent - I don't know why they used the zoptic for the flying scenes when Supes races to find Lois. They didn't use any rotation or zooming - it just looked like he was in front of a projection screen. If you're not going to take advantage of the zoptic lense, then you're better off with bluescreen or miniatures.
S2: can't think of any for some reason. Maybe one brief shot as he flies down into the streets of metropolis?
S3: Flying into the canyon (definitely the best daytime zoptic)