cindy running into the middle of the street and jumping up, then did a pass with the car parked on the hit spot and cindy out there rolling on the hood in different positions. kyle then sends these layers to visual effects artist zane rutledge to work his magic. well, it s three shots stitched together in a couple of subtle and kind of clever ways. the original handheld shot up to a moment, and then the final handheld shot at the end. but in between, we re seaming that together with a cheated handheld simulated in the computer. to create that shot, zane uses a process called rotoscoping. it s this painstaking tracing, frame by frame, rachel throughout her roll off the car hood. and by isolating her in that way, we re able to drop her on to the other shot. but the devil is in the details, and after viewing the effect, zane and kyle decide
stairs, i shot the road empty, the car passed. cindy running into the middle of the street and jumping up, then did a pass with the car parked on the hit spot and cindy out there rolling on the hood in different positions. kyle then sends these layers to visual effects artist zane rutledge to work his magic. well, it s three shots stitched together in a couple of subtle and kind of clever ways. the original handheld shot up to a moment, and then the final handheld shot at the end. but in between, we re seaming that together with a cheated handheld simulated in the computer. to create that shot, zane uses a process called rotoscoping. it s this painstaking tracing, frame by frame, rachel throughout her roll off the car hood. and by isolating her in that way, we re able to drop her on to the other shot. but the devil is in the details, and after viewing the
the street and jumping up, then did a pass with the car parked on the hit spot and cindy out there rolling on the hood in different positions. kyle then sends these layers to visual effects artist zane rutledge to work his magic. well, it s three shots stitched together in a couple of subtle and kind of clever ways. the original handheld shot up to a moment, and then the final handheld shot at the end. but in between, we re seaming that together with a cheated handheld simulated in the computer. to create that shot, zane uses a process called rotoscoping. it s this painstaking tracing, frame by frame, rachel throughout her roll off the car hood. and by isolating her in that way, we re able to drop her on to the other shot. but the devil is in the details, and after viewing the effect, zane and kyle decide cindy s moves on top of the car aren t realistic enough.
the car passed. cindy running into the middle of the street and jumping up, then did a pass with the car parked on the hit spot and cindy out there rolling on the hood in different positions. kyle then sends these layers to visual effects artist zane rutledge to work his magic. well, it s three shots stitched together in a couple of subtle and kind of clever ways. the original handheld shot up to a moment, and then the final handheld shot at the end. but in between, we re seaming that together with a cheated handheld simulated in the computer. to create that shot, zane uses a process called rotoscoping. it s this painstaking tracing, frame by frame, rachel throughout her roll off the car hood. and by isolating her in that way, we re able to drop her on to the other shot. but the devil is in the details, and after viewing the