Meet Dave () - IMDb
If you answered "yes," proceed to Meet Dave. Proven comic talents like Judah Friedlander and Ed Helms make up much of Murphy's crew. In the first, hope-filled minutes of Meet Dave, the new Eddie Murphy vehicle After making his name as a ferociously funny stand-up comedian. Meet Dave is a American comedy science fiction film directed by Brian Robbins and Dave powers down while Dooley and his partner catch up and point their guns at As of early June, they were filming scenes at the Statue of Liberty in New Meet Dave is the first movie called out, and Carl mentions he has seen it.
He shows up, does his thing and banks the cheque. It's workmanlike, nothing more, which is mostly what Murphy does these days. He is said to be thinking of retiring from movies and that would not be a surprise. With so much talent and at the age of just 47, I'd say it's a shame - but so is watching him make so many lacklustre movies. This one sees him again teamed with director Brian Robbins, who was responsible for Norbit, which just backs up what I've been saying.
A lot of Murphy's fans thought Norbit was a low point but clearly not Eddie.
Mark Stetson Steps Up To 'Meet Dave' | Animation World Network
There ought to be community service for someone who commits such crimes. Instead, we get Eddie Murphy's version of an English accent as the captain of starship Dave, an offence worthy of transportation. Murphy can sing, dance and fight, he can charm or lacerate with an acid tongue, he can even do great impressions but he can't do foreign accents.Meet Dave
This one's a variation on the African prince he did in Coming To America, only worse. Why would an alien sound like this?
It's just lazy and I'll bet no one was game to tell him it wasn't working. Dave lands in New York City searching for a tiny probe that his planet has sent to drain the world's oceans, for salt.
It's lying in a kid's fish tank. Once he's back on his repaired feet and engaging with humans, each scene is a cut-up between Dave's exterior and the interior of his head, where Captain Buttocks and crew try to keep him on track. As with most aliens, he has no sense of humour and he finds earth a real puzzle.
All the crew wear the sort of modified trekky-tracky costumes you find in outer-space, except that the women all need extra cloth, especially up front. They're from planet Booty, I guess. Each scene is built around The Joke, whatever it is. Dave takes a drink of water, and half a dozen Dave crew almost drown; Dave realises he needs money, so he scans the currency in a store and squats to produce what he needs.
The vulgarity is calculated to appeal to a nine-year-old boy obsessed with bodily functions, as are most current comedies. Never before in the history of movies has arse-trumpeting been so lucrative and Eddie helped to create the craze with a memorable scene in The Nutty Professor. Meet Dave isn't as flatulent but nor is it as funny. The finger blaster is great over-the-top comedy [and Special Effects Supervisor] Garry Elmendorf gave us great stuff to work with.
He launched his exploding police car 20 feet into the air. Both teams had to solve problems which they hadn't faced before, so their lives and ours stayed interesting until the end! The remaining assignments were made during post-production. We were happy to work with Pixel Magic on the many screen comps and other things that needed visual effects problem-solving. New Deal Studios built and shot the impact explosion elements for the Starship crashing to Earth on Liberty Island -- actually their back lot.
They also rigged and shot rocket exhausts, as well as elements for the hot dog eating contest. I had this hair-brained idea that we might get some value out of shooting real hot dogs passing through the mouth environment. With the angles we needed, VFX DP Tony Cutrono had enough light to get to t64, which would cook the dogs if he left the lights on for more than a few seconds! Were there whole categories of shots that went to each of these effects companies, or were there any shared shots?
Generally we kept sequences intact with one vfx company.
We tried to break up the work in an efficient way that allowed for one vfx studio to develop a look across all the similar shots in the film. That, of course, doesn't always work out exactly. We did have a few shared assets and shots -- CIS, for example, shared their Number 17 digital stunt double with Hydraulx, although each lit and rendered their own. Hydraulx likewise shared the shoe shuttle with CIS. The shot sharing was done with utmost professional courtesy throughout.
Meet Dave - Wikipedia
How did you coordinate the work with the supervisors at these various facilities? What online tools did you use, if any? Although we worked entirely with L. That saved us hours in traffic each day. How detailed was the previs work for this film? Their supervisor was Chris Edwards, one of the principals in the company. They did a great job in interpreting the storyboards and developing the sequences creatively.
They then gave me clear layout sheets for the technical requirements of shooting plates. It seems as though a lot of roto, compositing and matchmove work was required for this film. Although these vfx seem very broad, was it tricky to solve problems of scale correct? This was indeed a show that entailed more composite work than CG work, so the vfx teams faced huge roto tasks. I found my past experiences in miniature effects helped me understand the scale problems on an instinctive level as well as a technical level.
I knew we would face problems getting the cameras into positions on our New York City background plates that would allow us to shoot all the angles that our director Brian Robbins and our Director of Photography Clark Mathis wanted to use when shooting Eddie Murphy and Gabrielle Union.
Brian's and Clark's challenge to me was to let them shoot Eddie as if he was a normal-sized actor, including normal, slightly low angles up to their faces for their medium shots and their close-ups.
This meant the plate camera would be half-buried in the street in Times Square to get the lens low enough to find the technically correct matching angle. In Times Square, this was not an option. So that limited the snorkel lenses we could use that would satisfy Clark's demand for resolution. We shot the Times Square plates and any other plates that required a snorkel with the T-Rex lens system.
The lens barrels on that system are all around three inches in diameter, so we had to cheat a lot to make the audience feel we were low enough to make the scale of Eddie's and Gabrielle's characters feel right. To do that, we used a number of little tricks of forced perspective to help the shots along, both as we shot them and as we comped them.
The director also wanted to extend our depth of focus in the scenes so that the backgrounds would suggest more of a colorful sensory overload to help convey the alienation that our tiny characters felt.
Mark Stetson Steps Up To 'Meet Dave'
That took away another of the tools we normally use to convey the feeling of macro-photography -- shallow depth of focus. This became a problem as we were finalizing the sequences. It was a tricky balance to find the amount of depth blur needed to sell the scale of the characters, and still give Brian Robbins the deep-focus worldview he wanted.
You've worked as a visual effects supervisor in the past for companies like Digital Domain and Sony and had your own facility, Stetson Visual Services, but you worked on Meet Dave as an independent visual effects supervisor. How long have you been independent? Since starting with Digital Domain inI have migrated back and forth between the vfx company-side vfx supervisor role, and the production-side vfx supervisor role.
I feel very fortunate to do both. My last vfx studio job was with Sony Pictures Imageworks in When I'm on the production side, I get the satisfaction of working closely with the creative team of filmmakers.
When I'm on the vfx-studio side, I get the satisfaction of working closely with the artists who are actually finishing the shots.