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Some effects advice?
Hi, this is for an up-coming project for an auto body shop.
The concept is to show this shop working from the 1950’s to present day. We plan on doing this, in part, with chroma key and the Morph effect.
So, I have three main effects shots:
Shot 1 is of a 1950’s gal stepping out of an old Buick. As her foot hits the ground, it morphs into a modern day shoe.
Shot 2 is of a 50’s era man walking up and shaking a mechanic’s hand. This shot will be difficult being that there
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6 Replies
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Hope you get better advice, just a random thought: Lots of these types of spots are shot with real actors. Dunno if you will have good camera talent or not but the chromakey shots could be done in your studio if you emulate the location lighting carefully , place some green boxes to represent stuff on the set in the garage and have a nactor who can memorize his blocking.
“Morph” has, erm, morphed into a new word these days, not much of anything like what it meant back in the 80s. Can’t really tell what you mean by morph but, before you get all hung up on one particular shot/effects sequence, think about what you know you can do versus what you think you can do and see if there isn’t a stylization shift you can make in your heads. You want to look good, you want to do a good spot, you want to get paid, you want to do something cool. Practice the technique before you commit.
best of luck.
bogiesan
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I agree with Dave. I especially like his suggestion of using B&W and color footage.
A chroma key shouldn’t be necessary as long as you limit the morphing effect to relatively static/well controlled shots, the only variable is your talent, and for that there may be some necessary roto work.
Make it as simple for yourself as possible.
Darby Edelen
DVD Menu Artist
Left Coast Digital
Aptos, CA -
Here’s my advice/input for what it’s worth:
1. The first shot in your board with the woman’s shoe doesn’t seem to fit the sequence. The remaining shots all tie together, but the woman’s shoe doesn’t lead anywhere in the story. If you are going to stick with this story line, I would work the woman in later in the spot or replace the first shot with something more relevant.
2. It sounds as though you aren’t sure about morphing or greenscreen work. Dave’s advice is right on the money, and honestly I wouldn’t board out an idea that you aren’t sure if you can even execute, much less have any experience with. You are basically writing a check you might not be able to cash. Good greenscreen work isn’t a no-brainer, and BAD greenscreen work can ruin the entire project.
3. Dave’s advice of using cuts and color treatments to tell the story is wise indeed. The story will be just as effective in terms of making the point, but without so much potential for disaster.
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Okay. Thank you all for your advice.
Dave, I think you may be right. Using colors would be a hell-of-alot easier.
beenyweenies, I agree with you. The client kinda wanted things to “morph” but I don’t know if I’ll be able to pull it off with my equipment and budget.
Oh, and the story doesn’t make sense because I only posted three out of 10 boards 😛
I’ll let you know how things turn out.
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You don’t have to morph nor use green screen. True, as people mentioned, you can use cuts, but you could also do an MTV style zoom which much easier to implement than morph and do the shoe transition by using regular masks and hide it using some glow or such thing.
MTV Zoom – Place the “modern shot” on top of the the handshake close up and have a half a second of overlap. Keyframe scale, position and rotation so that both shot look the same at the handshake point at both ends of the overlap (use 50% opacity to do the matching).Now keyframe the opacity so that handsake goes from 100 to 0 and modern shot goes from 0 to 100 percent. This will create the illusion of morphing with no greenscreen or lots of work.
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Thanks for the suggestion Amit.
I don’t know if the “MTV Zoom” is going to fit the style of this particular spot, but I’ll definitely keep it in mind for future projects.
Thanks.
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