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I get it
(lemmy.dbzer0.com)
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this post was submitted on 15 Dec 2025
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The cinematographer in me is wondering how I would go about staging the scene without putting footprints in the snow.
Composite 2 shots maybe? You would have to be sure to map routes in and out of the scene and then make sure the action doesn't cross those routes.
Yeah. That's about the only way that I can figure it could be done optically. Or else just fix it in post.
From a visual standpoint I know it lacks realism if we have a man bleeding out against the bench with no footprints or disturbance to show how he got there. But visually it looks better. I'd also costume the man in very gray colours, with almost the only noticeable color being the pool of red slowly spreading. Frank Miller-ish.
It's starts cloudy and when the fight ends it begins to snow. As the protagonist monolgues he and the cooling corpse of his rival bleed out in the accumulating snow. Bam no footprints, two slowly spreading blood pools, monologue, fade to white.
I'd say no dialogue. Tell the story visually.
This man has been protecting a young kid from afar. The kid's never met him, but this man has spent the last few months keeping the bad people away from him and it's taken a very obvious toll on his body. Finally, in the final confrontation, he's mortally wounded and bleeding out after killing the "main" antagonist. He goes to his grave stoically, with no one ever knowing what he sacrificed.
You are thinking too hard.
Just projectile him into position.
Say fix it in post 3 times. Then shoot clean plates and hope the studio has a vfx budget.
Does that make a computer effects tech appear like Beetlejuice?
Some say that vfx editors and post houses within a 5 mile radius have a fire-department-esque alarm whenever it is muttered 3 times. They’ll show up to grab dailies, curse you for not figuring out a solution in pre-production, then begrudgingly fix the issues.
For the justification for no footprints, you could have it in the script that the one dying fell into place. Fighting atop a crane, in a helicopter, or whatever. Seems appropriate for the kind of film that would end with a nice shot like that anyway. For the practical side, simply catapult the actor into position.