After so many petitionts I’ll finally give some details about the workflow I followed for my last tiltshift film, Girona.
This has been a challenging film because of being made on a province instead of a city, what makes the distances quite farther and adds so much driving time. Apart from that, I found myself with so many cloudy days, so it took more than expected to shoot everything, and some locations got out of the edit. Mainly because one of the key things in this technique is color to make everything look like a painted model, so when clouds appear everything turns grey and flat.
The other essential need is to always shoot from high spots. This can easily be done in cities with tall buildings, but when you are shooting an entire province, location scouting turns a bit tricky. Viewers have to be find through google or asking people from the area, and after that reach them probably on foot, luckily with car. So you need mountains and hills to shoot from. Another place where I always looked for were the main bell towers from each town, which usually are the highest point. Extra shots were made from a hot air balloon. For the ski shots I just had to ski myself through the slopes of the station and look for nice spots to shoot skiers.
The most important thing you need to have is movement. Not sea or trees, human movement. In a city is something easy to find, but in the middle of the mountains I saw myself waiting half an hour for the train to pass by. So patience is needed, and some previous preparation for the things to happen in front of you at the right time.
For this project I used a Canon 60D, a Canon 24-105 L lens for all kinds of shots, a Sigma 10-20 3.5 for the wide shots, and a Canon 70-300 4.5-5.6 for the close up shots.
I made the shootings with an intervalometer locked on burst mode, around 5,3 pictures per second. I had to lower the quality of the pictures and have a fast sd card for the camera to handle it along 2-3minutes.
I imported the 300-500 pictures sequences into Adobe Lightroom, where I processed them popping out the colours and correcting the light and exposure. You can do it with one shot and apply it to the rest of the sequence. Then I would export them keeping the same resolution and quality.
I then reimported this new sequences to Adobe After Effects, and stabilized the ones that need it. After that I added a lens blur effect and masked the areas I wanted to be on focus. This is the key process for the optical effect of miniature to happen, and each shot has a different blur and mask. After that I exported the shots with a lossless video format.
Finally, I imported the tiltshift shots into Adobe Premiere Pro, where I adjusted the speed of them one by one, according to the effect of a stop motion film. Being shot at 5,3 pictures per second, the resulting video at 25fps is itself accelerated, which intensifies the miniature effect.
The 3:2 format from the pictures and the high resolution they have give you the ability to zoom a bit and animate the shots with motion.
Long hours of rendering.
After the edit was done, I added sound effects on each shot, to give life to the film in a subtle way. Some layers had background sounds such as sea or forest ambients, and other layers had specific effects such as tennis rackets or cow bells.
I hope this has been helpful to you!
You can check out more behind the scenes pictures here: