If you look at the bottom right corner of this shot you'll see a shadow of my big head. Why is it there? My only guess is that I was distracted by Sean when we shot this on a freezing cold winter morning. Still it's a pretty big thing to miss. So today in After Effects, I erased the shadow of my head but in doing so, I potentially created an impossible shot. With the camera I used, the only way to get that particular shot with that particular lighting is to put the camera in that particular place—the place where you get the shadow. But the shadow is no longer there. The impossible cinematography in films like Speed Racer is obvious and blatant. But in our film, no one will know that this shot is an impossible one.
Visual effects are often looked at in terms of adding fantastic imagery to a shot. But fx also seem to function subtractively in at least two ways. First, they can be used to make shots viable by removing phone lines, non-period cars, etc. This is a huge deal in terms of the production value it adds. We are now able to simulate having complete (and formerly expensive) control over a location. Second, and perhaps more significant in the long run, shots no longer necessarily bear testimony to the way they were created.
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