Car/Motorcycle Chase!

That was decent. So the guy in the white shirt was scared of the motorcycle rider, but then starts yelling at him? I'm confused.
 
meh, it was okay. Nice car though

You need to put in shots where we see both the car and the bike so we know how close they are... they could be blocks away for all we know.
 
Rule #1 to an action scene - Have action.
Rule #2 to an action scene - Good God have action.

All I saw were a bunch of horrible cuts and nothing else. Sorry man, but it wasn't good.
 
Briceman,

I've worked on lots of car chase sequences for shows like The Rock, Nash Bridges, Daylight and Metro among others and, narrative comments on your project aside, I think you're really only lacking one element to cut a successful sequence.

Get your COVERAGE / MASTER shots first, based on a drawn or miniaturized master shot / sequence layout. You have a good amount of tight shots, but it is hard for the viewer to get their bearings without establishing shots.

The most successful chases ever filmed - Bullitt, The French Connection, Ronin and so on, all intercut high-angle static, wide, tracking, on-board POVs and GFX shots to tell a "story" through the chase sequence. If you watch these movies, you will begin to detect the division of "acts" as the sequence progresses - distinct first, second and third acts.

So, instead of thinking of great angles or shots you want to pull, think about the larger chase story and how to accurately frame it. The shots should follow the storytelling and contribute to a coherent telling of same.

From a technical standpoint, tights (CUs, ECUs, GROUND EFFECTS) should always be shot subsequently in case you incur damage during the wide sequences.

You can [should] use a third vehicle or multiple static shots to capture the involved vehicles in several progressive set-ups to help establish speed and relationship between the subjects.

e
 
overlandfilms said:
Briceman,

I've worked on lots of car chase sequences for shows like The Rock, Nash Bridges, Daylight and Metro among others and, narrative comments on your project aside, I think you're really only lacking one element to cut a successful sequence.

Get your COVERAGE / MASTER shots first, based on a drawn or miniaturized master shot / sequence layout. You have a good amount of tight shots, but it is hard for the viewer to get their bearings without establishing shots.

The most successful chases ever filmed - Bullitt, The French Connection, Ronin and so on, all intercut high-angle static, wide, tracking, on-board POVs and GFX shots to tell a "story" through the chase sequence. If you watch these movies, you will begin to detect the division of "acts" as the sequence progresses - distinct first, second and third acts.

So, instead of thinking of great angles or shots you want to pull, think about the larger chase story and how to accurately frame it. The shots should follow the storytelling and contribute to a coherent telling of same.

From a technical standpoint, tights (CUs, ECUs, GROUND EFFECTS) should always be shot subsequently in case you incur damage during the wide sequences.

You can [should] use a third vehicle or multiple static shots to capture the involved vehicles in several progressive set-ups to help establish speed and relationship between the subjects.

e
Click to expand...

Good points indeed. After reading your post, I now want to try my hand at a chase scene.
 
Only problem is, we shot both vehicles on seperate days. And, we aren't going to be able to gain access to these vehicles again.
 
why did you have to use those particular vehicles? any chase scene can be done well with any car. have you ever seen real stories of the highway patrol?
 
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