Movie, the director wanted to create some simple panning and tracking shots which would join together seamlessly. Without motion control, a memory head, or pre-vis to plan the lensing and timing, it was feasible, but very challenging and needed the Flame to stitch the camera moves together. We used CG to extend the live action hop rows using plate shots which had been rotoscoped previously in Combustion by our teams in London & NYC. This technique made the fields seem impressive and infinite. We used Maya to track the camera moves through the fields, then extend the rows. Dirk (Greene) used passes of foliage from the outgoing and incoming shots to blend the three together whilst also stabilizing and smoothing out the joins between the shots.

Utilizing the lens flares captured in camera helped to define the style of the spots throughout. Additional lens flares were added to continue this theme as well as joining such opposites as the day cutting to night shots.

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