This site will work and look better in a browser that supports web standards, but it is accessible to any browser or Internet device.

Whedonesque - a community weblog about Joss Whedon
"Haven't clocked you since the Sunny D went from being an outie to an innie."
11943 members | you are not logged in | 18 April 2014












November 03 2005

(SPOILER) Serenity visual production and post in depth. Joss, Loni Peristere and Jack Green talk technical about the shoot and tweaking the visuals in post.

One of the things I love about this is learning new terms such as kit bashing. I have seen the movie 11 times and counting and I need something to look at or forward to. Yes, I still but that isn't enough. So,when someone says "Did you see all the books?" I have reason to go again. I am so looking forward to the DVD and the commentary.
I've been lucky enough to hear Joss talking live about three times now. I am always amazed at the depth and range of his craftsmanship and the way he involves the highest level of skill in his crew.

Obviously I'm a Joss Whedon fan but I'm a fan because he's so good at this stuff. I've been absolutely enthralled in every one of those talks. I've even learnt things that have been useful in approaching my own work, which is currently a million miles from the media.

If ever you get a chance to see Joss talk then go. You won't regret it.
I concur, technovamp. I actually have his 2 hour Edinburgh International Film Festival talk on video tape, I keep meaning to put it online.
Gossi Is that the 'official' tape or one you made yourself ?

I got conflicting stories about whether the 'official' tape would be made more widely available or not.

My favourite quote from the talk was when Joss was talking about making the original pitch video for Buffy, which was made before the pilot.

He had a miserable time working for a crew that wouldn't listen to a newbie, which he was at the time, and his comment was "I realised this was something I had to do and the courage to do it would come afterwards".
I don't care which tape. I want to see it! Please, Gossi? Ple-e-e-ase?
What a fascinating article. It's amazing what goes into what might end up being a 10-second shot. It sounds like Joss really surrounded himself with people who know their stuff. Smart man.

Oh, and Gossi, can I echo the "pleee-eee--eease"?
Re: the "Mule" chase scene:

“Tracking was an issue because they shot the thing barreling up a mile-long highway, finding angles almost on the fly,” Goux explains. “Because of the schedule, it was therefore hard to prepare the road for a true tracking situation, measuring and marking it up. But, interestingly, it's an old highway, and those old black tar lines from filling in potholes on the road turned out to be ideal tracking markers. Creating the plates, we were looking for something to grab, and our software [2d3 Boujou 3] grabbed onto those tar lines.”


This is incredibly fascinating, the way the practical and the digital came together so well, the way fortuitous things like old tar lines helped out, and the way they saved so much money being creative like this. Thank you so much for posting this.

[ edited by chickenbird on 2005-11-03 17:32 ]
Yeah, I think one of the cool things about Serenity is how they took quite a modest budget and managed to make the entire film look so spectacular.

Something like the Star Wars prequels have enormous amounts of money and resources poured into them, but they then use CGI and other effects so heavily that not all of them are pulled off and look authentic. I know it's part of the fantastical style of the films, but there are times when it doesn't look very impressive, say Jar Jar Binks or something, it does actually look out of place in a scene, like it has been digitally added.

The thing about Serenity is that Joss is just as bold in his vision, but that in some ways he is more realistic about it, and knows what he can do and practically how to go about doing it, so even when it ends up being somelike like The Mule chase, they didn't go overboard with the special effects which is not only good for their budget, but also creates a more authentic and enjoyable scene.

I've heard someone say before that when creating art, limiations can actually be helpful, as they force you to look at other alternatives, or work within those limits, and I think Joss's work is a prime example of that, how his shows (and film) can manage to look so amazing on a limited budget. Personally I'd prefer for him to stay true to his vision, and have to maybe work hard to realise it, than be handed unlimited amount of money.

You need to log in to be able to post comments.
About membership.



joss speaks back home back home back home back home back home