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Blur, headed by front man Tim Miller, are very well known for their dynamic range, and are the brains and brawn behind a number of video games cinematics,
stereoscopic rides, commercials, feature films and of course music videos.
Recently, Blur completed the new Shania Twain music video, I’m Gonna Getcha Good. Shania Twain's last album, Come On Over, is the
most successful female solo artist album of all time with world-wide sales of over 34 million dollars. It's very clear that a large audience is
going to be watching Blur's latest magic. Blur had to deal with over one hundred shots with-in a very tight
production schedule, so they called on Fusion to get the project done fast and effectively without sacrificing the quality of the finished
product.
Fusion’s power and flexibility is evident throughout the video as you can see by the shots outlined below.
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To accomplish several shots that involved Shania Twain riding a futuristic motorcycle, she was first shot against a blue screen,
sitting on a rig that would later be replaced with a CG motorbike. Removing the bluescreen was done with Digital
Fusion's Ultra Keyer and Ultimatte advanced keying technology. These Keyers allowed Blur Staff to
place Shania into a CG tunnel they had created, complete with giant imposing robot.
Once placed onto this background, the CG bike was added in addition to other elements, including a CG windscreen, which helped sell
the shot. Once all elements were assembled, final tweaks were made within Fusion to match the shot to the video's concept of a
dark yet futuristic environment by adding color correctors, glows and finally grain.
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The next shot involved incorporating a live action dolly shot of Shania Twain and her band into a CG futuristic storefront, complete with robots meandering
outside. In order to match the live action plate to the CG storefront, the compositors had to match the movement of the camera dolly to the storefront. This was
accomplished with Fusion's new Tracker tool. Once tracker paths were created that properly reflected the motion in the live action plate, that
information could then be applied to the CG storefront recreating the dolly motion on that static footage. The final shot incorporates the two plates using
some clever masking.
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The third shot required a CG robot to be placed over a pre-rendered background. The problem was that the robot needed to appear
as if in-flight. Achieving the effect of the robot flying at breakneck speeds was essential to selling the action pictured in
this particular shot, and was accomplished in Fusion using the deformation tools. Blur used rendered
passes of rocket exhaust passed through Fusion's Deform tool to create a hazy jet stream effect coming off the back of the robot.
The addition of CG smoke and some subtle glows and color correction seamlessly integrated the shot into the rest of the video.
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All of the shots that Blur completed were passed through Fusion in some shape or form.
Make sure to check out the Blur website for more information on the company and
all of the work they have done.
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