How do you create nice, thick, artificial rain for a dramatic fight scene, with no budget to speak of? Here’s how we did it on Soul Searcher.
This is a clip from the feature-length documentary Going to Hell: The Making of Soul Searcher. You can rent the whole doc digitally from the Distrify player below for a small charge, and you can watch Soul Searcher itself for free at neiloseman.com/soulsearcher
The clip shows how we created a fake downpour for a fight between the outgoing Grim Reaper, Ezekiel (Jonny Lewis, doubled by Simon Wyndham), and his replacement, Joe (Ray Bullock Jnr.). Ironically it was actually raining for real, but not heavily enough to show up on camera with the impact we needed. We’d had some rain bars made (lengths of hosepipe with holes drilled in them, strapped to bamboo canes) but we found the water squirted out in unrealistic jets. Luckily the location – Westons Cider in Much Marcle, Herefordshire – had a high pressure hose and we found that by pointing it upwards the water back down looking like rain.
The WidthScribe promotional video I recently completed for Astute Graphics involved the actress driving a car – except we ended up casting an actress who can’t drive. We got around this in a few different ways, including the obvious substitution of a qualified driver in the wide shots, complete with appropriate wig.
Perhaps the most interesting technique we used, and one which I might well have used even if she could drive, was Poor Man’s Process. Nowadays, most fake driving shots in films and TV shows are achieved by shooting against a greenscreen and replacing that screen in post with a moving background plate. A more traditional technique is to film against a rear projection screen – a screen onto which previously-shot footage of a moving background is projected in real time behind the actors. This was known as Process Photography.
Poor Man’s Process leaves out the screen altogether, shooting against a plain, ambiguous background that doesn’t reveal the lack of movement – typically empty sky. Careful use of camera movement and dynamic lighting create the illusion of movement.
Here is the set-up we used on the WidthScribe promo.
Making the magic
The car is parked on Nick’s drive, which is conveniently sloped so that – from the camera’s point of view – only sky and a bit of a distant tree are visible in the background.
A light behind the car represents the sun, and Nick chops a piece of cardboard up and down in front of it to represent the shadows of passing trees.
Low budget wind machine
Sophie operates a hairdryer to blow Laura’s hair around.
Col shines a reporter light into the lens, moving it around to create the impression of the sun changing position relative to the camera.
And I dolly the camera side-to-side while vibrating it ever so slightly.
When intercut with wide shots of Nick’s wife driving the car for real, you’d never know the close-ups were cheated. (An additional trick we employed was to sit Laura in the passenger seat of the moving car then flop the image in post, for the over-the-shoulder shot of the pylon passing by.)
The drapes are to cut out the reflections in the windscreen.
Poor Man’s Process works best at night, but with the shallow depth of field provided by DSLRs it’s now possible to get away with it in daylight too, so long as the shot is kept fairly tight and the road you’re meant to be driving on is fairly open.
You’ll want to vary the lighting effects you use according to the surroundings the car is supposed to be in. You can use spinning mirrors to sweep “headlights” or “streetlights” over your actors, or move a keylight representing the sun or moon slowly side-to-side, or even place two out-of-focus bulbs in the background of your shot to represent another car behind.
I’ll leave you with an example of Poor Man’s Process in use on a big-budget Hollywood film, Michael Bay’s 1997 Alcatraz actioner, The Rock. All the close-ups in the cars were shot static in a car park.
A look at the pick-ups shooting during which the fifth scale miniature elements of the Wooden Swordsman and his ceiling mechanism were filmed, along with some full-size shots.
Production of the insanely ambitious British fantasy adventure movie The Dark Side of the Earth begins with a single pilot scene, featuring a Victorian swordfighting robot. Director Neil Oseman and Sword Master A. J. Nicol put the puppet robot through its paces. Filmed by Gerard Giorgi-Coll and Simon Willcox.
Production of the insanely ambitious British fantasy adventure movie The Dark Side of the Earth begins with a single pilot scene, featuring a Victorian swordfighting robot. Model Unit Supervisor Mike Tucker (Atonement, Doctor Who, Red Dwarf) explains how the full-size puppet will work.
