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Into the Mind: a dizzying edit but beautiful
“Into the Mind” just came out on Apple TV , for .99. I had heard about this ‘different’ extreme skiing film, sponsored by some heavyweights. I loved the film. But my editing question was, there is some amazing use of revolving the screen and cutting to another shot.(trailer 1:00) It’s an astonishing thing to watch, I don’t remember seeing this used before, and after a while you are wondering what the heck had to go into the previsualization of this thing. Also what appears to be time lapse shots done at different times of year from the same position and layered together (trailer 2:38). I’ve seen this before but I assume the amount of AE was astronomical, and I’m at a loss to really understand how they did what they did. It couldn’t have been time lapse so they must be doing some really time consuming masking. Has anyone seen any articles on how the editing was done?
This trailer gives a good feeling of the editing effects I’m mentioning.
https://vimeo.com/54348266Al
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5 Replies
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Hi Al –
Here’s a behind the scenes segment which shows a number of the shot setups. My guess is that they used motion control timelapse to enable them to put many of the shots together so beautifully. Even this piece is a work of art:
Joe Bourke
Owner/Creative Director
Bourke Media
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Thanks! I still would like to see an overview of how they did that. I’ll have to look up AE ‘rotary cut’ since that seems to be what they call that.
Al
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Al –
I think that it may be that they have some motion control capabilities in the rig they’re using, so they can duplicate the camera motion (at least rotational) in x and y space. This would mean that any shot they shoot with that setting would be able to “match” in to any other shot, just by choosing the edit point. Of course, as you say, it looks as if there’s some creative masking going on as well.
Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com -
Interesting. So when using something like a Kessler programmable jib or dolly, (just to use one example), you can program in the movements, then transfer those x y coordinates into whatever you are working on in AE and match the camera tracking? Since I don’t get into this level of shooting and fx it’s new to me, but makes sense that you would then be able to take the second clip and program it in. I’ll have to try and find some tutorials on this.
Al
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Hi Al –
I couldn’t tell you about the Kessler, but I have worked with motion control data (in Combustion, at the time – AE has the same capabilities to import the data) enough to know that this would be a way of achieving those shots without really tearing your hair out.
The projects I worked on (in which I had to put screens in vintage televisions while the camera flew past them and around them) shot a brightly lit shot to get the tracking points, an artfully lit shot for the final compositing, and a highlights shot to composite screen reflections and such. The data sent from the motion control rig, dropped into the camera keyframes in AE, and it’s then relatively easy to tweak the final screen composites. It’s also commonly sent to 3D packages as well, such as 3DS Max.
It looks as if the Kessler will do this, in conjunction with another piece of hardware:
https://www.kesslercrane.com/product-p/cam-ctrl-box.htm
Here’s a nice short article which goes over the many practical uses of motion control – using a honking big Milo rig. It’s very interesting to see that a lot of this capability is now coming down to stuff you can haul in a large jump bag with a couple of grips:
https://vd-fx.com/article/motion-control
Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com
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