LegoMatrix - Making of Scene 17

10th in filming order.

The sun in this shot was an important aspect of it, so we tried hard to get the lens flare and brightness matched. We were very happy with the result, by using a USB LED snakelight Blu-Tacked to a Foxtel remote control and shining through a pinhole poked into the background. How's that for pro equipment!?

This was also another scene we filmed in reverse, as we needed the gun to occlude the light at just the right place. If you watch this section frame by frame, you'll see the we get partial and full occlusion at exactly the same point, and to the same degree. Also, the amount of lens flare is almost identical, which was a happy coincidence. Magical, even if the gun looks to be as big as the agent's head.

Quite a bit of work was done to create the background image for this one. The original scene had to have the agent removed and the sun glow replaced where he used to be. Filling in part of a radial gradient fill is a nightmare.

10th in filming order. The sun in this shot was an important aspect of it, so we tried hard to get the lens flare and brightness matched. We were very happy with the result, by using a USB LED snakelight Blu-Tacked to a Foxtel remote control and shining through a pinhole poked into the background. How's that for pro equipment!? This was also another scene we filmed in reverse, as we needed the gun to occlude the light at just the right place. If you watch this section frame by frame, you'll see the we get partial and full occlusion at exactly the same point, and to the same degree. Also, the amount of lens flare is almost identical, which was a happy coincidence. Magical, even if the gun looks to be as big as the agent's head. Quite a bit of work was done to create the background image for this one. The original scene had to have the agent removed and the sun glow replaced where he used to be. Filling in part of a radial gradient fill is a nightmare.
	Here's the background image with the pinhole in it (well, more of a "penhole") and the highly technical mounting system for the light. The running sheet there shows we were tracking the frame numbers in reverse (as we shot this one in reverse) and the title says "S17T03" for "scene 17 take 3".
	The photo here shows the placement of the light for the actual filming - right up against the backdrop. You can also see that same running sheet has a notation at the bottom indicting this was a take with a pinhole in the backdrop. We had tried it without one prior to this, and were disappointed with the results.