Movie tactics
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- Cal Wright
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Movie tactics
Okay, why this thread now exists. FX is showing Batman Forever. Yes, I do have loose screws in my head. They just had thier little driving sequence and something just popped into the void in that melon on my shoulders. It seems like any driving sequence that occurs at night, and subsequintially, those that occur at any time other than broad daylight are on wet roads. No clouds in the sky, no rain, just soaked roads.
Is this to help with the lighting effect. Because in every one of them, you'll notice the glaring lights of a city reflecting, which give it a great look. Does anyone know what's up with this?
Is this to help with the lighting effect. Because in every one of them, you'll notice the glaring lights of a city reflecting, which give it a great look. Does anyone know what's up with this?
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Fire hydrants blasting during the day?
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It's probably because the tires skid better on wet roads, and it less expensive than doing something to the tires to make them skid better, I suppose. But if they're going ot do that, why don't they make it look like it was raining, or something to explain why the roads are wet other than for effect?
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- Cal Wright
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I am almost 100% certain it is not to skid the tires. First off, they edit the sfx in movies, so it's definitely not to skid for sound. Second, as I was watching carefully, I was wondering how they kept from hydroplaning in a high speed chase. They really don't seem to be going that damn fast. They don't slide by more than a hair. So like I said, I'm pretty certain it is NOT for skidding. Don't worry though, I thought that might be the case early on. Hopefully someone knows and will fill us in.
Were you born with out a sense of humor or did you lose it in a tragic whoppy cushion accident? -Stormbringer
"We are well and truly forked." -Mace Windu Shatterpoint
"Either way KJA is now Dune's problem. Why can't he stop tormenting me and start writting fucking Star Trek books." -Lord Pounder
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Post 1500 acheived on Thu Jan 23, 2003 at 2:48 am
- RedImperator
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Black asphalt+black night+intense local light sources like car headlights=invisible road. A camera, unlike a human eye, can't adjust for varying light levels within a frame, so dark details are washed out (take a picture of someone standing in front of a brightly lit window sometime and see what I mean). The effect would be a car gliding over a void, which would throw off the audience. Wetting the road gives the ambient light something to reflect off of and brings out details like cracks and potholes to give the road some texture. My guess is that if they didn't have to do it, they wouldn't, because having a reflective surface means they've got be careful not to catch the reflection of the camera truck's lights (if the camera is moving with the car) or the equipment setup on the side of the road (if the camera is stationary).
Any city gets what it admires, will pay for, and, ultimately, deserves…We want and deserve tin-can architecture in a tinhorn culture. And we will probably be judged not by the monuments we build but by those we have destroyed.--Ada Louise Huxtable, "Farewell to Penn Station", New York Times editorial, 30 October 1963
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- Cal Wright
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Holy shit, not only does this asshat have a great avatar, he sounds intelligent. Well, there we have it folks. That's pretty interesting why they do it too. I'll have to watch closer next time.
Were you born with out a sense of humor or did you lose it in a tragic whoppy cushion accident? -Stormbringer
"We are well and truly forked." -Mace Windu Shatterpoint
"Either way KJA is now Dune's problem. Why can't he stop tormenting me and start writting fucking Star Trek books." -Lord Pounder
The Dark Guard Fleet
Post 1500 acheived on Thu Jan 23, 2003 at 2:48 am
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I'm an asshat! Hooray!
Any city gets what it admires, will pay for, and, ultimately, deserves…We want and deserve tin-can architecture in a tinhorn culture. And we will probably be judged not by the monuments we build but by those we have destroyed.--Ada Louise Huxtable, "Farewell to Penn Station", New York Times editorial, 30 October 1963
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