|
The movie for this ISSUE is a visual translation of Frank Miller's graphic novel Sin City
Director Robert Rodriguez, a big fan of this graphic novel series maintains that he only wanted to make a screen translation of the comic, and not an adaptation.
The 1998 film, Pleasantville, much like this, employed the same visual technique of showing everything in black and white with only the occasional person, object or scene shown in color. This is one of those very few movies in the film-noir genre.
Rodriguez and Miller planned each shot in the movie by using the panels from the original book as storyboard.
But how do you shoot Miller's world?
First guess might be color-desaturated film, or maybe actual B&W film stock. But, no. Nearly every set (or "environment") is a virtual CG construct--adding to the disorienting play between real and surreal scenes--which meant all the talent would be shot on greenscreen.
However, it should be noted that three of the sets on the film were practical (i.e. constructed by hand). They were:
- Kadie's Bar, where all of the major characters make an appearance at least once and also the only location in which all objects are in color.
- Shellie's apartment. The front door and kitchen are real, while bathroom and corridors are artificial.
- The hospital corridor in the epilogue. Although the first shot of walking feet was done on greenscreen, the corridor in the next shot is real. The background becomes artificial again when the interior of the elevator is shown.
 |
As each sequence of this film was shot separately, new cast members were added and incorporated in the stories throughout the production. In many cases separate footage was composited in post-production to look as if it were all shot the same day.
Achieving the ‘look’ of Sin City quickly became the focal point. Rodriguez ultimately decided against shooting for only black and white and admitted some gray scale into the shots. This was a fortuitous decision; his use of gray scale allows the viewer to perceive more detail and also lends a silvery richness and depth to most scenes. The look goes way beyond what most B&W movies give us while still retaining Miller's style of remorseless black and white.
Keefe Boerner, the visual effects producer and post supervisor for Troublemaker Studios describes the movie's post challenge as one of integration, trying to make the backgrounds match the lighting and make it look right. “The biggest challenge was trying to match the books and still be somewhat realistic, but it's liberating that you don't have a real set that you need to tweak and tweak.”
To make Sin City this way, Rodriguez, Troublemaker and the film's three visual effects houses graduated to Sony's new high def SRW-5000 deck, which boasts 10-bit, 4:4:4 processing. Sony designed this format for those who might want to add some visual effects to their footage.
The movie is rated #82 in iMDB’s all time top 250 movies.
For trying the Sin City effect for your home video using Sony Vegas, click HERE.
For achieving Sin City effect for your home videos using Adobe After Effects, click HERE.
Film for next Issue - Transformers
|