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Practical Shots: How They Executed the Car Chase Sequence for The Raid 2

Jul 16, 2014 by Maaz Khan 7 Comments
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Sometimes the film you’re watching has a scene that you just can’t comprehend; you start asking yourself how in the world they could have pulled a shot like that off, and you’re absolutely sure there must have been some green-screen involved.

Though this scene may not be entirely unbelievable, it’s one of those scenes for me. When The Raid was first released in 2012, it pretty much caught America by surprise by being one of the best action films of the year, and undoubtedly the best choreographed film of that year. This year, we got The Raid 2, the bigger, grander, more action-packed sequel that was originally written before the first.

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Realism: The Role Photography Plays in CGI on the Big Screen

May 15, 2014 by Maaz Khan 3 Comments
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A reader brought up an interesting question last Saturday on my weekly cinematography post, this one over Eduardo Serra and his work in Harry Potter and the Deathly Hallows; he asked how much credit a cinematographer can really claim for a shot done in CGI. Another reader answered him correctly in saying that the shots done in CGI are still directed in planning by the cinematographer himself. Basically, the work the animators do depends on the input of the director of photography.

That exchange made me want to write this post today; I’ve been obsessed with science-fiction and fantasy films since I was a kid, and CGI is something that’s impacted the films I grew up with as much as it has for many of us since twenty years ago. But there’s the films that do it well, and then there’s the films that we look back at and cringe in retrospect; remember those atrocious-looking monkeys in Jumanji?

So what sets apart the good CGI from the bad? How do they get it done right? If you’re going to make something look like it could have been right in front of the camera during filming, like it was real, then it would have to follow the same basic rules of photography that everything else in real life would. And what’s possibly the most important part of good photography in the first place? Good lighting.

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Alex Baker is a portrait and lifestyle driven photographer based in Valencia, Spain. She works on a range of projects from commercial to fine art and has had work featured in publications such as The Daily Mail, Conde Nast Traveller and El Mundo, and has exhibited work across Europe

Dave Williams is an accomplished travel photographer, writer, and best-selling author from the UK. He is also a photography educator and published Aurora expert. Dave has traveled extensively in recent years, capturing stunning images from around the world in a modified van. His work has been featured in various publications and he has worked with notable brands such as Skoda, EE, Boeing, Huawei, Microsoft, BMW, Conde Nast, Electronic Arts, Discovery, BBC, The Guardian, ESPN, NBC, and many others.

John Aldred is a photographer with over 20 years of experience in the portrait and commercial worlds. He is based in Scotland and has been an early adopter - and occasional beta tester - of almost every digital imaging technology in that time. As well as his creative visual work, John uses 3D printing, electronics and programming to create his own photography and filmmaking tools and consults for a number of brands across the industry.

Dunja Djudjic is a multi-talented artist based in Novi Sad, Serbia. With 15 years of experience as a photographer, she specializes in capturing the beauty of nature, travel, and fine art. In addition to her photography, Dunja also expresses her creativity through writing, embroidery, and jewelry making.

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