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Topic: Children of Men (Read 1886 times)
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Cody Deegan
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Has anyone here mentioned this one? I was pretty frikken impressed watching the final scene. Coordinating all those people with so many pyrotechnics - unbelievable! The scene is like 15 minutes long....
...and appears to be all one take.....
...but on my second viewing, I couldn't help but notice that in the first quarter of the shot, blood from a squib spatters the camera lens and remains there for quite a while, but then suddenly vanishes when the camera goes in the building and tilts up to survey the ceiling and stairs above.
My guess is there was some trickery to seamlessly combine two or more takes. If it weren't for that blood disappearing, I'd swear it was one long incredible shot.
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Charles King
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It wasn't done with a steadicam. It was done handheld. They had tried it with a steadicam the first couple of tries but decided to do without it. I've seen it and it's one of the best movie I've seen. cinematic perfection.
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Charles King
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Cody Deegan
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Handheld, no kidding? Dang, I guess my post was not only in the wrong topic, it was in the wrong website.
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Cody Deegan
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A quote I found:
"The blood was great, but after a while it started to feel like it was on your face," Cuarón says. "It started to feel distracting." So he hired a computer-effects artist to digitally erase the blood from the final image, a very painstaking job.
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Phil Kindred
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I watched this film today. Very fine. The opening scene where Clive Owen buys his coffee and then walks outside into future London is just perfect. He spikes his coffee with whiskey and the building blows up. A women appears out of the smoke carrying her severed arm and we cut to the credits. Hooked me right away. The uprising sequence appears to me to have a couple of places where a cut could be hidden, but it is an example where the steadicam would have been wrong. The sequence needs that raw handheld look--like an old combat film--and gains from it. Yes, we here love the device, but sometimes it is the wrong choice. If any of you have not seen Hitchcock's Rope, I would recommend it. It is intended to be in real time and shot in unbroken takes. Not completely successful, but an interesting experiment from the early 50's.
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« Last Edit: April 21, 2007, 09:57:12 PM by Phil Kindred »
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Cody Deegan
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You hit the nail on the head, Phil. I was reading some excerpts from the camera team on Children of Men today and they mentioned influences from Hitchcock - the idea of subtlety and old-fashioned camera work, hidden edits. Very cool you saw all that.
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Charles King
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I'm an old dog learning new tricks.  ...and we learn from thae 'old dog' everyday. Thanks Phil. That was educational.  |
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Charles King
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Michele Coser
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I have the 2 dvd edition. The movie is great (the atmospheres reminds me of the pc game Half-Life 2). And yes, is almost all handheld; but a very stable handheld. The guy is amazing. Is very well done also the car scene where the camera is moving freely. I think you can find a video about it on youtube.
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Morgan Lowndes
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i too was blown away by this film. i just worked on a feature where most of the scenes were real-time, no cuts. we had very little camera movement and it was still very difficult to pull off. lots of things to go wrong. some of the scenes in children of men really take this style to an extreme level. the scene choreography and camera work are amazing and the focus pulling pretty impressive too. phil you are right, Rope is a very early version of this style of film making. morgs |
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Morgan Lowndes
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Erik Brul
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It is indeed a amazing film. There was the last couple of months a lot of discusion if they used steadicam or not. Explaination has already been given. But what they also used besides pure handheld is a couple of times the Easy Rig 2. It is handheld shooting but the camera load is taken of your arms. this will give you enough energy to shoot this kind of 200% demaning shots without getting really exhausted. + also some nice gadgets like a 'doggicam' was used. You can see some of these devices here : http://www.youtube.com/watch?v=4A55xTYXMpIBest, Erik |
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