Hi to everyone!
Sorry if this is not precisely the right place to ask this, but whoever did this is probably around here, I hope!
Watching Nightmare before Christmas for the Nth time with my kids, I got again this question in my mind:
How did you hide the camera from view in the door knob spheric reflection? at first I thought, maybe shooting towards Jack first and then composite that on top of the knob, but then Jack grabs the knob and it looks perfect, in camera-like!!!! What???!! How did you guys pull this off? :-O
It's a great effect and goes very unnoticed, I think. Any ideas?
I didn't shoot it but I vaguely remember the set up. They basically built a circular tent for the background painted sky (and maybe some of the trees) I'll see if I can find more info.
Thanks for replying! :)
This is intruiging, you are right.
So presumably there's a shot done with a fisheye lens that gets composited onto the doorknob, and Jack's hand then comes in to grab it? Such a great idea for a shot!
I checked around and got a few responses on this from different crew members. It was all shot in camera, no compositing as there were very few composites in the film.
Set Construction Supervisor, Bo Henry: We built the set to the reflection, the camera was a hole in the backdrop that was painted looking at the monitor.
Todd Lookinland, Set Builder and Co-Host of the upcoming We Know Jack Podcast: Pat Sweeney talked to us in detail about that shot on the podcast. We will let you know when that episode is released. Probably in May. We Know Jack Show podcast - coming soon
Kat Alioshin, Asst Production Coordinator and Co-Host of the We Know Jack Podcast: It was Pat Sweeney! He talked about it on the We Know Jack podcast! and Matt White. Deane Taylor built a textured shield around it so other parts of set weren't seen
Animator Mike Belzer: It's funny that shot keeps coming up. I wish I had taken a picture at least of the set. Honestly, at the time, it seemed like one of those "nothing burger" (Buck-isum) shots.. Norm had sculpted a beautiful "hero" hand for it because it was going to be as big as a house on the screen. So it was a beautiful pro-poxy DeCarlo special hand. It was impressive how Pat and Matt did the lighting as it all had to be hidden. It was essentially a big tube, as I recall, that had the camera lens poking through a tree in the forest.
We couldn't have the reflection of the camera in the shot. (See picture... I think where my arrow points to is the camera lens) Biggest pain was crawling in and out checking the grabber and such. Obviously the big challenge of keeping is buttery smooth since it was so big without stop mo pops happening. I couldn't glue the hand so it was all frame grabbing fun getting the turning hand and knob working together. I think the shot only took a day.... and that's about all I remember.