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The Turkish Online Journal of Design, Art and Communication - TOJDAC April 2012 Volume 2 Issue 2 VFX DP will use the previs to: • Help to drive the process by providing critical input on camera moves, lens choice, and composition. • Pre-determine equipment needs (including special rigs) early enough to figure budget implications and build what is deemed necessary. • Predetermine the size of a green screen. • Design or modify a lighting scheme once lens choices and fields of view are known. • Perform a virtual prelight, in more advanced systems, using physically accurate models for individual lighting instruments and other main components of the scene. • Get a sense of the rhythm and coverage of a scene, based on a preliminary previs cut put together by the editorial department. [19] Doing this job well requires an extraordinarily good creative eye, a thorough understanding of cinematic techniques, and more than a dollop of technical ingenuity. The nature of visual effects usually requires the VFX DP to photograph places, objects, and events under vastly different conditions from those of principal photography. [20] 6. CONCLUSION The Cinematographer role did actually change over the years since the invention of cinema as an art through the days of classic cinema reaching the digital era. The limited crew members at the birth of cinema (usually the director and the camera man and sometimes they were the same person) expanded to be different departments one of them is the special effects department which deals only with the visual effects scenes. In many cases the VFX Director of photography is not the DOP of the entire film; his main job is to shoot the life action part of the visual effects shot, he works more closely with the CG artist to achieve unity of the shot in lighting, perspective and mood and also to keep in mind many other factors, such as the entire film visual continuity and the characteristics of the medium he is using, the difference between film and digital cameras and to be able to come up with solutions to accomplish the shooting and reach the desired result in. The work of VFX DP requires great technical and artistic skills. In fact the cinematographer’s role did not diminish but expanded to further aspects. REFERENCES [1] A. J. Mitchell (2004). Visual Effects for Film and Television, Focal Press. [2] http://www.pbs.org/wgbh/nova/specialfx2/glossary.html#motion [3] Charles Zwerman, Susan (2010). The visual effects producer: understanding the art and business of VFX, Focal Press An imprint of Elsevier. [4] Michael Fink, Jacquelyn Ford Morie (2010). In: The VES handbook of visual effects, Jeffrey A Okun, Susan Zuerman,Visual Effects Society. Published by Elsevier Inc. [5] Ron Miller (2006). Special Effects: An Introduction to Movie Magic, Lerner Publishing. [6] Michael Fink, Jacquelyn Ford Morie (2010). In: The VES handbook of visual effects, Jeffrey A Okun, Susan Zuerman, Visual Effects Society. Published by Elsevier Inc. [7] Richard Ricitt (2007). Special Effects, the History and Technique, Bellboard Books [8] Richard Ricitt (2007). Special Effects, the History and Technique, Bellboard Books [9] Michael Fink, Jacquelyn Ford Morie (2010). In: The VES handbook of visual effects, Jeffrey A Okun, Susan Zuerman,Visual Effects Society. Published by Elsevier Inc. [10] Raymond Fielding (1985). The Technique of Special Effects Cinematography,4 th edition, reprinted 2000, Focal Press. [11] Michael Fink, Jacquelyn Ford Morie (2010). In: The VES handbook of visual effects, Jeffrey A Okun, Susan Zuerman,Visual Effects Society. Published by Elsevier Inc. [12] Mark Sawiki (2007).Filming The Fantastic, Focal Press. [13] Hiroyasu Masuda (2005). Development of a Compact Motion Control Camera System for HD Digital Broadcasting, SMPTE Technical Conference and Exhibition November 9-12, 2005 New York City http://www.nhk.or.jp/digital/en/technical/pdf/01_2_1.pdf Copyright © The Turkish Online Journal of Design, Art and Communication 121
The Turkish Online Journal of Design, Art and Communication - TOJDAC April 2012 Volume 2 Issue 2 [14] Charles Zwerman, Susan (2010). The visual effects producer: understanding the art and business of VFX, Focal Press An imprint of Elsevier. [15] Scott Squires, (2010). Acquisition/Shooting In: The VES handbook of visual effects, Jeffrey A Okun, Susan Zuerman,Visual Effects Society. Published by Elsevier Inc. [16] Charles Zwerman, Susan (2010). The visual effects producer: understanding the art and business of VFX, Focal Press An imprint of Elsevier. [17] Mark Sawiki (2007).Filming The Fantastic, Focal Press. [18] A. J. Mitchell (2004) Visual Effects for Film and Television, Focal Press. [17] Scott Squires, (2010). Pre-production / Preparation In: The VES handbook of visual effects, Jeffrey A Okun, Susan Zuerman,Visual Effects Society. Published by Elsevier Inc. [18] Charles Zwerman, Susan (2010). The visual effects producer: understanding the art and business of VFX, Focal Press An imprint of Elsevier. Copyright © The Turkish Online Journal of Design, Art and Communication 122
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