OTOH, here you see the guys behind the curtain...
"Polaris"
- Thread starter Admiral Buzzkill
- Start date
Here we have a 110 degree F heat index (not shown).
Big rectangular thing on the left reflects more sunlight onto the actors.
Shockingly enough, turns out it also reflects more heat onto the actors.
Crispy!
We didn't. Our indefatigable makeup artist touched up the makeup between each shot and in several cases had to completely redo it.
We also set up the schedule to try to do dialogue scenes that required close camera work with the actors early in the cooler part of the day, and the action stuff which tended to be shot wider later in the day. There was not a lot of running and jumping involved in any event, thank gods.
We also set up the schedule to try to do dialogue scenes that required close camera work with the actors early in the cooler part of the day, and the action stuff which tended to be shot wider later in the day. There was not a lot of running and jumping involved in any event, thank gods.
Those rocks look appropriately alien-looking. Not that I'm an expert on what alien rocks should look like, but you know....
Sean
DISCLAIMER: No Dennis Bailey's were harmed in the making of this video. All staple guns were entrusted to others who ensured that he would remain and staple free and safe in his fingers free to type away more writing.
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We've considered giving a production credit to one "Brad Naylor" without whom we wouldn't have been able to complete construction on the sets in time.
Not seriously. Gag credits like that are disrespectful, unless the whole thing is comic.
Not seriously. Gag credits like that are disrespectful, unless the whole thing is comic.
No disrespect intended. Just a honorary nod your personal sacrifice on the Exeter shoot. Just well wishes to a safe trip this time around.
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I wasn't talking about you, but about the idea of gag credits in the movie.
Base camp:
"A crane? Where we're going we don't need a crane!"
This is what the place looked like when we first scouted it in May:
A day before we finally shot, the owners trucked away some dirt that had obscured the excavated nature of the far wall just a little. Eh, we'll fix it in post.
A day before we finally shot, the owners trucked away some dirt that had obscured the excavated nature of the far wall just a little. Eh, we'll fix it in post.
What's interesting about location shooting is that the overall landscape often doesn't matter. As long as there are enough angles to get the look you want, it doesn't matter what is outside the camera frame.
Dennis and I walked the site on two different occasions and shot photos of potential angles to discuss with D.P. Alexander Ibrahim. I storyboarded based on these discussions and photos. By the time we got to location we usually knew where to plunk down the camera for each shot, and how to arrange the shooting schedule to work with changing sunlight, etc.
And also pretty much how to shoot around the fact that there were obvious dirt roadways cut through the location.
I just like this shot because it's such a "we're on the job making a movie" picture:
I just like this shot because it's such a "we're on the job making a movie" picture:
Speaking of on-location, here's a shot of a landing party" prop used by Dr. Valerie Young in POLARIS. It was built from an electronic toy and modified to include a greenscreen element for VFX superimposition (a reflective surface was placed over the greenscreen when the device was "idle") and custom interface graphics.
This photo of the same prop was taken before final touchups to it. The rubber band holding the scanner disc in place was there while the cement dried.
I really liked this prop because it looks so unlike a tricorder. The offset circular screen is what really does it.
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