About the compositing material, the burned wood on "Power", how did you get this done? Is it 3D imagery or a real sample of burned material?
Jurek used textures from a stock library and applied them with layer-blending-modes on the grey wall. He's an absolute genius in creating environments this way.
And what about the background on “Snake Sharmer”? It looks like we are in the middle of a science fiction world!
This photo is a collaboration of John Flury and Christian Gerth, with John providing the concept and photography and digital painter/3D artist Christian creating the background with Cinema4D, ZBrush and Photoshop. These futuristic buildings were created with snake bones in mind. Christian uses all available techniques to create his fabulous landscapes and sometimes it's almost a little creepy, how fast he can learn something new and integrate it immediately into his work.
Do you think you need to charm the ELB 400 like you would charm a cobra?
Not at all, the ELB 400 was a delight to use and should have a sticker on it that says “easily charmable”. We tested it with different triggers, Elinchrom skyport, PocketWizards and the built-in optical slave. The unit danced along beautifully and never skipped a beat.
About The Vampire Flasher. Can we assume that the ELB 400 is like a light weapon against vampires?
I think vampires hate bright light. So I guess the ELB 400 set to full power was a great weapon against them. Perhaps Elinchrom should check with Hollywood to bring it to the movies.
Technically speaking, why don’t you use a blue or green background during your shootings?
A colorless background does not reflect or spill colors on the subject. In filmproduction, where you can't extract subjects frame by frame greenscreens or bluescreens are absolutely necessary. But if you work with a single image a grey background is much better.
One last question. Do you have the picture of the selfie you did in Paris?
Yes we do. It showcases four grinning lads with a lot of concrete sidewalk behind them. Just kidding. It’s all a composite of course. The only BUNO who was in Paris to take that shot was John Flury. The rest was shot in our studios.
Thanks a lot for all your great work on these compositions!