by Simon Clarke, Moonraker VFX
Back in 2015, we started work on our first film for the flying ride format, a project that combined 8k aerial photography and CGI. It was the start of a journey that challenged our technical team to deliver seamlessly joined shots (with no fades or dissolves) into a single camera across the entire piece. This has now become our trademark for the content we create for flying rides
As an established visual effects company at the forefront of augmentation of filmed footage and computer-generated images on such shows as BBC Planet Earth and Netflix Night on Earth, we have been privileged to be working with the best landscape photographers in the world and directors who put their trust in us to make their raw images sing.
We come to these projects from a slightly different perspective than most traditional filmmakers and production companies. Being at the forefront of the technological advancements in our industry in the course of our day-to-day work has, you might say, given us a competitive edge. This means it really is blue-sky thinking at the start of the project. Anything is possible when combined with our visual effects expertise.
Getting the perfect shot
At the start of every project, we undertake a thorough previsualisation process. Having worked on many leading projects filming in the natural world, we have a customised version of Google Earth. This allows us to plan every shot with real-world attributes. We can replicate exact terrain, altitudes, and flight paths with accurate geographical data to give a true representation of the proposed scenes before filming.
This becomes our 3D blueprint for the project. It is shared with pilots to replicate the filmed camera movement, test the ride motion before filming and give the client a good indication of how the story fits together.
So much of the success of the final output of a good film for a flying ride is down to the camera movement and the choreography of the action. Even with the best camera operator in the world and the best equipment, getting everything to be perfect on camera on the day with unpredictable weather and lighting is a huge challenge. And add to that filming night scenes, with restrictions on flying speeds and altitudes. You start to understand how difficult it can be to get the perfect shot.
Overcoming challenges
Earlier this year, filming for our latest flying ride for Hong Kong as the creative director and visual effects supervisor, we were faced with such challenges.
At the start of the rainy season, we knew that we were likely to be faced with grey skies and gusty winds for several days. There were also many restrictions for filming close to buildings (the filming laws in HK changed extensively two years ago). It was far from the ideal filming window.
We used a purpose-built drone and helicopters, knowing that we could get the basic camera motion and the flight paths as we wanted but with no guarantee of the weather. Our good friends at Talesmith did a fantastic job planning all the logistics. We were heavily reliant on the skills of our VFX team to craft their magic to put back in all the elements of the shots that we wanted to improve as if we had the perfect conditions on every shot so that the production could deliver on time.
The challenges of flying rides
This is where the skills of our VFX camera tracking team come into play. You can record gyro data from the camera. There are lots of pieces of software that allow you to stabilise the footage for conventional formats. However, when it comes to flying rides it’s another world. The world of fisheye.
Unlike 360 VR, which can be unwrapped into a flat format and worked on fairly easily in post-production, a 180-degree field of view is worked on in its native format. This means you have to track the camera with all the inbuilt distortion that is characterised by the fisheye lens.
Replacing elements of the shot will only be successful if the camera tracking is rock solid. Otherwise, new CGI integrated into the filmed material will appear to float over the original image. Similarly, this same process is used to smooth out the motion of the camera and take out the unwanted bumps. These can become even more pronounced when the footage is speeded up.
Thus, our reliance on post-production is huge. Replacing skies, removing dirt on the lens, and painting out unwanted cranes, signs and people. The tasks can be exhaustive. But knowing exactly what can be done before and after the camera stops rolling and how to achieve it cost-effectively and technically offers the filmmaker many more creative choices.
New flying rides
Some elect not to take on such filming challenges for the creation of the material. But I would argue if you can film it and you have a strong postproduction pipeline, don’t be put off.
There are, however, times when the storytelling leads us into worlds that are almost impossible to film. With a sense of flight required in the camera motion, realising underwater worlds for example with dynamic movement or historical scenes can be prohibitive.
Our most recent Flying Ride project for the small Mediterranean island of Malta encompasses such scenes. This is a country rich in history that dates back to the Ottoman Empire. The audience gets to experience flying through crystal-clear waters into a cave. Then, they are propelled with cannon balls through a historical battle. This is all rendered with extremely high production levels of VFX, comparable to that of a Hollywood movie.
Our next flying ride film will take visitors back to the Moon. Now there’s a challenge for filming. Thankfully, we have all the tools to crew that mission.
