how do they do these?

[Kevin Camp]

the echo effect will kind of do this… it will composite frames from at a given interval in time on top of the current frame, but it will change the levels of those frames as it blends them. so as each new point get composited over the current frame, there will be a jump in levels. if the subject was keyed, that could be overcome.

if you want to give it a try, you’ll want a locked down shot of something moving around/across the frame, apple echo, set echo time to like -1 (that’s 1 second back in time), set the number of echoes to as many as you need (start with 10…) then try the operator at blend…. it will be similar, but the levels will jump at each new interval (echo time value).

if the subject was keyed, then you could use echo with the operator set to composite in front or back. of course if it was keyed, you could do this any number of ways…

here’s a tutorial you might check out for rotoscoping in ae. he does something very similar to what you see in your samples.

Kevin Camp
Senior Designer
KCPQ, KMYQ & KRCW

[Filip Vandueren]

The Toshiba is definitely a complete real bullet-time rig.
It wouldn’t surprise me if it was done in greenscreen and replaced with a virtual set.
If not, than indeed, there would have been a lot of rotoscoping done.

The one with the bike I would try to first key with a difference Matte Key.
The shot is locked down, and there’s a clean plate at the beginning and end.
Then the echo effect or just a bunch of copied and time-offset layers would do the trick.
There’s hardly any overlap between the different copies, so the sloppiest of travelmatte rotoscopes can be used if the key doesn’t work.
The slight Panning left to right was then added afterwards with a crop & move of the precomp. Not in camera.

[Simon Stutts]

Here’s a write-up on the Toshiba piece.

https://gizmodo.com/5083099/toshiba-advances-bullet+time-to-next-level-in-ad-filmed-by-200-camcorders

[Kevin Camp]

very cool, thank simon.

Kevin Camp
Senior Designer
KCPQ, KMYQ & KRCW

[Simon Stutts]

The amount of raw data they had to manage for the Toshiba piece hurts my head.

[Kevin Camp]

no kidding… it’s simply insane.

definitely not for your first production….

Kevin Camp
Senior Designer
KCPQ, KMYQ & KRCW

[Andy Brown]

cheers guys you all have been very helpful and hopefully i will get some good results when i get a chance to do a test.

thanks again
andy

[David Bogie]

The bike has to be shot at a relatively high shutter speed, say 125 or 250. You’ll need lots of light and you’ll also notice it’s in focus and that implies a good focus puller on the camera or a good depth of field at a a small f-stop further implying there was a TON of light on the subject. Shooting with a bank of sequential strobes is a lot of fun and can be rigged pretty easily with an old fashioned board of thumbtacks and a firing lead. The strobes you would blow off on a single exposure using a still camera and fairly dark room.

bogiesan

[Paul Hennell]

Nice link, I’ve been wondering how that add was made. I figured a lot more CGI really, and I’m scared by just how much time they put into organising it.

—
Only in after effects do children get to pick and whip their parents.
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