For "Christine Christine", the first movie directed by famous actress Stefania Sandrelli, Gianluca Dentici supervised shootings and visual effects on approximately 150 shots. Among   them   many   blue   and   green   screen,   digital   set   extension   and   the   creation   of   a   CG   panorama   of   Paris   in   1300.   For   some   scene   also   natural   elements   were   generated entirely in CG. Thanks to a careful pre-production and supervision,  visual effects are excellently integrated in the movie with a strong realism. Gianluca Dentici was nominated for the best visual effects for the David di Donatello Award. For CG recostruction a great attention has been paid on creaiting  3D models (also created by Gianluca), texturing, as well as lighting, based on a HDR capturing on set. Gianluca Dentici also took part duting the color correction phases at Cinecitta Studios along with DOP Paolo Carnera. The   movie   "Christine   Cristina"   is   certainly   one   of   the   most   complex   productions   that   have   ever   been   made   ​​in   Italy   for   a   costume   movie,   for   amount   of   vfx   required. The   movie   tells the story of a poet, of Christina da Pizzano, actually lived in France in 1300. Given   the   period   and   the   historical   background,   the   production   had   to   rebuild   multiple   settings   and   turn   in   outside   locations   suitable.   Many   scenes   in   the   movie   were   supposed   to shot   in   and   on   a   dilapidated   boat   stranded   on   the   banks   of   the   Seine   river,   where   a   bankrupt   drunk   storyteller,   masterfully   played   by Alessandro   Haber,   lives   with   his   wife,   a   friend of Cristina from Pizzano. For technical and practical reasons this set was entirely built inside stage 18 at Cinecittà Studios. To   address   this   complex   challenge,   Gianluca   Dentici   developed   an   in   depth   vfx   analisys   for   all   shots   during   pre-production   and   a   detailed   list   of   all   shooting   needs   along   with production managers. The stage was carefully organized to accommodate the large ship surrounded by a blue screen of more than 80 meters and high around 14. Dop   Paul   Carnera   lit   the   blue   screen   from   above   and   below   with   soft-large   cone   soft   light   and   the   entire   set   with   about   60   small   baloons   lights.   The   lights   placed   on   the   floor   and the   wires   were   covered   with   blue-tinted   panels   and   fabrics.   The   floor   behind   the   ship   was   painted   blue   as   well   because,   in   post   production,   was   replaced   with   the   footgage   of   a watercourse, shot separately. On   the   blue   screen   Gianluca   Dentici   placed   a   hundred   markers   for   matchmoving   purposes;   Besides   the   ovreall   set   has   been   measured,   and   all   data   recordered   along   with   those from cameras. In addition to blue screen shots also other vfx shots were filmed outdoors with a 8x8 green screen to recreate a river port. Besides any CG extensions have been created to turn blue/green screen shot interiors as outdoors.
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