History Main / DrivingADesk

1st Nov '17 3:10:53 PM Adeon
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** Done literally with Melissa McCarthy's portrayal of Sean Spicer. The crew build a motorized podium (using parts from an electric wheel chair) which she would drive around during sketches, including one situation where she actually drove it through the [[https://www.youtube.com/watch?v=di1-jK5x-HQ streets of New York]].

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** Done literally with Melissa McCarthy's [=McCarthy=]'s portrayal of Sean Spicer. The crew build a motorized podium (using parts from an electric wheel chair) which she would drive around during sketches, including one situation where she actually drove it through the [[https://www.youtube.com/watch?v=di1-jK5x-HQ streets of New York]].
1st Nov '17 3:10:33 PM Adeon
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Added DiffLines:

** Done literally with Melissa McCarthy's portrayal of Sean Spicer. The crew build a motorized podium (using parts from an electric wheel chair) which she would drive around during sketches, including one situation where she actually drove it through the [[https://www.youtube.com/watch?v=di1-jK5x-HQ streets of New York]].
24th Oct '17 7:30:26 AM RedScharlach
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* The ''Film/AustinPowers'' movies do also use the technique as a joke.

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* The ''Film/AustinPowers'' movies do also use the technique as a joke.



* In ''Film/Terminator2JudgmentDay'' when the T-1000 climbs on the back of the escaping police car from the insane asylum in shots featuring Arnold Schwarzenegger and Robert Patrick the scene noticeably switches from live driving stunts to a stationary police car with the asylum and street becoming rear projection. Many of the nighttime driving scenes, particularly in the police car with its lights turned off, are also process.

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* In ''Film/Terminator2JudgmentDay'' ''Film/Terminator2JudgmentDay'', when the T-1000 climbs on the back of the escaping police car from the insane asylum asylum, in shots featuring Arnold Schwarzenegger and Robert Patrick the scene noticeably switches from live driving stunts to a stationary police car with the asylum and street becoming rear projection. Many of the nighttime driving scenes, particularly in the police car with its lights turned off, are also process.



* An episode of ''Series/TheGoodies'' (Punky Business) parodied this and then subverted it, the three Goodies are in the back of a van and we see the road in the vans back windows via backscreen projection, then it starts playing footage of punks. The subversion comes when Bill shoves Greame and Tim out of the back of the van and we see a screen being watched by several policemen with the punk footage projected onto it.

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* An episode of ''Series/TheGoodies'' (Punky Business) parodied this and then subverted it, the it. The three Goodies are in the back of a van and we see the road in the vans van's back windows window via backscreen projection, then it starts playing showing footage of punks. The subversion comes when Bill shoves Greame Graeme and Tim out of the back of the van and we see a screen being watched by several policemen with the punk footage projected onto it.it, being watched by several policemen.



* Done in many {{Sit Com}}s, including ''Series/EverybodyLovesRaymond'' and ''Series/DharmaAndGreg''. Particularly jarring on {{Sit Com}}s shot at a different framerate than what the backgrounds are shot at, or when the footage is rather grainy and of obviously lower quality than the main footage, like in Joey's Big Break on ''Series/{{Friends}}'', when he and Chandler are driving out of Manhattan for Las Vegas. [[ArtisticLicenseGeography The footage is also of the Queensboro Bridge, not the George Washington Bridge]].

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* Done in many {{Sit Com}}s, including ''Series/EverybodyLovesRaymond'' and ''Series/DharmaAndGreg''. Particularly jarring on {{Sit Com}}s shot at a different framerate frame rate than what the backgrounds are shot at, backgrounds, or when the footage is rather grainy and of obviously lower quality than the main footage, like in Joey's Big Break on ''Series/{{Friends}}'', when he and Chandler are driving out of Manhattan for Las Vegas. [[ArtisticLicenseGeography The footage is also of the Queensboro Bridge, not the George Washington Bridge]].



* The more-than usually surreal ''Series/ThePrisoner'' episode "The Girl Who Was Death" has a car chase sequence in which the title super-assassin tries to make Number Six crash his car by making the back-projection road behind him spin around.

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* The more-than usually surreal ''Series/ThePrisoner'' episode "The Girl Who Was Death" has a car chase sequence in which the title super-assassin of the title tries to make Number Six crash his car by making the back-projection road behind him spin around.



* Commonly observed in ''Series/YesMinister'' and Yes, Prime Minister, usually when the minister is being driven from the airport to his office.

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* Commonly observed in ''Series/YesMinister'' and Yes, ''Yes, Prime Minister, Minister'', usually when the minister is being driven from the airport to his office.



* Brazlian sitcom ''Os Normais'' had an unusually elaborate car scene setup for a series made already in the chroma-key era. The rig basically consisted of a car mockup between two huge rotating physical cylinders with [[WraparoundBackground wraparound backdrops]] of store fronts, buildings and the like printed on their surfaces, so their rotation would give the impression of stuff on either side of the road passing by. The scenes usually took place at night so the middle part of the road was just pitch black darkness the backgrounds faded to. A chase scene from TheMovie that took place during the day (and used deliberately bad MiniatureEffects for external shors of the cars for comical effect, think ''Series/Danger5'') got around this by only showing profile shots of the driver, so only the cylinder itself (outfitted with an appropriate daylight image) would appear.

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* Brazlian sitcom ''Os Normais'' had an unusually elaborate car scene setup for a series made already in the chroma-key era. The rig basically consisted of a car mockup between two huge rotating physical cylinders with [[WraparoundBackground wraparound backdrops]] of store fronts, buildings and the like printed on their surfaces, so their rotation would give the impression of stuff on either side of the road passing by. The scenes usually took place at night so the middle part of the road was just pitch black darkness the backgrounds faded to. A chase scene from TheMovie that took place during the day (and used deliberately bad MiniatureEffects for external shors shots of the cars for comical effect, think ''Series/Danger5'') got around this by only showing profile shots of the driver, so only the cylinder itself (outfitted with an appropriate daylight image) would appear.
14th Aug '17 8:11:33 AM Rytex
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* Given a vigorous LampshadeHanging (as is everything else) by ''Film/{{Airplane}}'', which moves from speeding and traffic accident backdrops to raiding Indians, with the driver turning the wheel wildly on straight sections and going straight when the background's showing a windy road.

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* Given a vigorous LampshadeHanging (as is everything else) by ''Film/{{Airplane}}'', which moves from speeding and traffic accident backdrops to raiding Indians, with the driver turning the wheel wildly on straight sections and going straight when the background's showing a windy road.road, culminating with the Indian attack in the picture. The passenger, however, reacts to all of it.
4th Jul '17 9:20:25 AM LentilSandEater
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* ''Series/TwentyFour'' still does this.
* ''Series/TheDukesOfHazzard'' anybody?

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* %%* ''Series/TwentyFour'' still does this.
* %%* ''Series/TheDukesOfHazzard'' anybody?
11th Jun '17 6:30:25 PM mouschilight
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* A relatively recent dramatic example is the taxi ride sequence Creator/QuentinTarantino's ''Film/PulpFiction''. Tarantino had access to better technology but used this technique as an {{homage}} to movies of the 1940's, especially noir flicks.

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* A relatively recent dramatic example is the taxi ride sequence Creator/QuentinTarantino's ''Film/PulpFiction''. Tarantino had access to better technology but used this technique as an a {{homage}} to movies of the 1940's, especially noir flicks.
11th Jun '17 6:29:54 PM mouschilight
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* A relatively recent dramatic example is the taxi ride sequence Creator/QuentinTarantino's ''Film/PulpFiction''. Tarantino had access to better technology but used this technique as an homage to movies of the 1940's, especially noir flicks.

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* A relatively recent dramatic example is the taxi ride sequence Creator/QuentinTarantino's ''Film/PulpFiction''. Tarantino had access to better technology but used this technique as an homage {{homage}} to movies of the 1940's, especially noir flicks.
5th Jun '17 11:07:58 AM Dimensio
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Added DiffLines:

* Used with projection in pretty much any driving scene in ''Series/MurderSheWrote'', even into the mid 1990s when ChromaKey became a more common method.
16th May '17 6:29:37 PM BiffJr
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* Oddly averted in Creator/JeanLucGodard's ''Pierrot le Fou''. Most of the driving scenes are real, and scene in medium long shots. An early scene of Ferdinand driving Marianne home, though, has no bluescreen and no attempt at realism. The two simply sit in front of a plain black background while colored lights flash across them and the prop steering wheel.

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* Oddly averted in Creator/JeanLucGodard's ''Pierrot le Fou''. Most of the driving scenes are real, and scene seen in medium long shots. An early scene of Ferdinand driving Marianne home, though, has no bluescreen and no attempt at realism. The two simply sit in front of a plain black background while colored lights flash across them and the prop steering wheel.
12th Dec '16 11:43:26 AM MrInitialMan
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* In Music/RobbieWillams's ''Millennium'' music video, the background projection suddenly changes from a moving background to what's seen at the end of the film.

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* In Music/RobbieWillams's Music/RobbieWilliams's ''Millennium'' music video, the background projection suddenly changes from a moving background to what's seen at the end of the film.
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