Big Scene development post 3: Motorbike Chase across the Nevada desert (Part 3 - Favourite shots from the sequence so far)

 Animation of the Motorbike Chase is progressing quite steadily, with the first and final sections of the sequence pretty much finished bar a few pick-up shots I'll be doing later. So for this post, I've decided to share 10 of my favourite shots out of what's been made so far.

Over-head shots can show great scale, but sometimes I think it's refreshing to occasionally see certain objects from the top. This shot shows two cars driving through an area with large hills made of rock, and with perspective they don't even need to fully touch the ground to appear as if they're on it.

Wide-tracking shots are often ones I find the most impressive in vehicle chases, and I was pleased
with this one due to how much swerving I was able to get the Motorbike to perform whilst
dodging gun-fire from a Security Guard in the car behind.

I think this is a rather clever shot as it shows the cars passing by the camera at a good angle/speed to look dynamic but also demonstrates the large scale of the area when it twists over to the other side.

This is more of a humourous shot than a well framed one but the animation of the frustrated driver
in his crashed car is so well done that I thought it deserved a mention.

I've done several P.O.V shots for Bond looking at the front of the Motorbike whilst he's driving it, but this one takes the cake for me simply because of the camera-work done for the background footage. It really does look the Motorbike is driving up this hill!

Yet another wide-tracking shot here, and probably the one I'm most satisified with. It follows along with the Motorbike nicely as it dodges gun-shots from Seraffimo Spang in the Dune Buggy and looks especially great with the sunset lighting I designed for this exterior desert set.

As you might tell from my previous shot descriptions, I'm very focused on getting specific camera angles in Moviestorm through learning different ways to operate the camera. And having it track an object until it twists to show it moving into the distance produces some very good results, as seen in the shot above.

This shot is a favourite purely for scale; the way it shows the mountains in the background against the sunset sky whilst the camera is positioned on the large rock formation that the vehicles drive across is very neat.

Similar to the previous shot, this shows great scale. But what I was particularly happy with about it was the way in which the vehicles zoom into camera-view. The Motorbike comes first, and we see it zoom towards a near-by hill. Then we hear the ATVs slowly approaching off-camera before they finally emerge...

And finally, we cap things off with this low-angle shot of Bond as he drives the Motorbike and Tiffany hangs onto to him. Aside from the cool angle, I thought having a zoom effect on this shot would really help to sell the fact that the Motorbike is driving really quickly here.

And there will be many more shots to see in the scene once it's finally completed! I hope these screenshots give you an idea of how much effort and thinking goes into animating and filming this sequence and why it takes a long time.

See you next update.

- The Retro Captain