CORONA

SINAN SEVINÇ

Stink

Sinan!

This is the other long time exposure example I mentioned during our call. For me this the more streakiness look I had in mind for Corona. We shot it using quite a long exposure. I remember that scene with the three engineers was about half an hour for long time exposure with extras running circles.

We used a simple linear two keyframe programming for the motion control (ARRI Motion in this case), which then was just scaled down according to the long time exposure. One good trick was to only utilize the dolly functionality of the motion control, which took out the wiggle room of the head for pan / tilt (there always is). We shot the long time exposure right after the main take so the sun position didn’t change too much. Think for us, light consistency is important.

Here’s the Mercedes example which is more physical. We used a rig originally invented to shoot 3d stereo with cameras to simultaneously shoot normal and long time exposure. We later painted in the streaks similar to the MLP example above, but needed to additionally add static strokes in comp to get the feel.

Here are some photos from the shoot. The the second camera was mounted vertically, shooting the same axis as the main camera using a transparent mirror.

You probably already know this, but this is where for me it was all coming from. Old but still so gold!