SHOT 112

This is basically Buddha’s reaction shot with James wondering out load, “How dew Oi flush dis ting?”

We pan up from James’ POV to spy a urine-sprayed security camera, which shows James’ transgression in its lens reflection as we see the sliding panel door opening behind him.

This is my first instance of some tricky animation being intentionally downplayed. It sends a message to the audience that this film is less about its technical execution and more about the story that’s about to spew forth.

SHOT 111

James has peed on Buddha’s lamp and the resulting power surge has rocked Sushi’s world.

This scene is a quick twist shot done with the camera facing out and away from its Tilt axis servo on my eMotimo Spectrum ST4. The effect is that Sushi’s precious Me Time has been intruded upon and literally upset. To sell the anti-gravity gag, I animated that giant crystal to appear to slide downhill across the top of her wall unit. Note her little paint brush and palette. Also we can start to appreciate the sexy samurai outfit she wears while painting.

Remember: If you have a good MOCO system, physical camera moves are always more convincing than doing them in post. Because you can’t fake parallax or lighting and shadow movements in Final Cut Pro. You can only simulate them. What you want is to always capture the actual photons if you can.