Blaise Douros
Forum Replies Created
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Yes, light travels in a straight line, but “light wrap” (caused by an off-axis light illuminating the subject from behind) is not the cause of this (though you’ll see its effects at the edges of your body as a highlight reflecting off you from the window behind). This is a shutter speed problem coupled with overexposure.
A slow shutter causes motion blur–basically, the exposure of the frame captures movement from point A to point B, causing a blurred image. So regardless of what’s behind you, a slow shutter will let you see “through” moving objects because they’re only in one location for part of the frame exposure.
The second factor is the brightness of the light behind you. Digital cameras have a set of values for brightness–on a regular DSLR shooting 8-bit 4:2:0 footage, those values go from 0 to 127. The sunlight behind you is bright enough that it’s maxing out the brightness–those windows are registering a 127, meaning the whitest white the camera can perceive. It’s actually far brighter than that–you’d probably have to have values up in the 300s or 400s to see detail in those windows and still see anything in the foreground. But cameras don’t work like that, so anything brighter than 127 just gets lumped into 127. This is called a “blown highlight.”
Now, normally, you’d see your blurred arm in front of a darker background, but because the sunlight is so bright, the area behind your arm is bright enough that it’s ALSO registering a 127. The motion blur from your arm might be darkening it down to a 240 from an actual value of 400, but your camera can’t see that–all it can see is “number bigger than 127,” so all you see is white, meaning most of your arm disappears.
The solution: use a faster shutter (shutter speed and framerate are different–look it up if you don’t understand it), gel the windows, or push more light into your foreground and drop the exposure. Or do all three!
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Second vote for the FS7 and its siblings, here. If you need interchangeable lenses, it’s a freakin’ workhorse. Shoot in standard Rec709 gammas for day-to-day, switch to Slog3 for the more color-intensive projects, rig it up however you want. E-mount is super versatile, and easily takes just about any adapted glass you already own.
C200 might be a contender, too.
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Glad to help. I tend to advise people against Nikon for video–they are decidedly the absolute last-place finisher on the list of companies that have made video a priority in their cameras. “Features” like this are one of many reasons why.
Happy to hear you found a workaround–good luck!
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It’s just motion blur, and the window behind is so bright that it’s just overpowering the brief exposure of your arm waving around. I bet the shutter speed was slower than normal.
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Look at the background when the 3D model appears. It’s a fully 3D-animated shot. They just tracked the camera, matched the camera movement, and placed the 3D model to match. After that, it’s just a matter of crossfading between the 3D shot and the real shot. Nothing complicated about it, other than hiring the right person to do the modeling and animation.
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Whatever mode you’re using, it’s not Manual if the camera is adjusting exposure automatically–the definition of Manual is that the camera doesn’t do anything automatically. I suspect that you have set the camera to Auto ISO by mistake–it would explain the graininess and exposure adjustment. Check your camera’s manual to make sure you’re using the correct ISO setting; it could be that when you have the white BG, the Auto ISO is setting itself to display ISO 100, but is then changing when you switch to the dark BG.
Thanks for the detailed info about setup, btw. You have no idea how many people don’t bother with that when asking for help.
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If you didn’t format your card in the camera before you started shooting, that can sometimes create weird conflicts. Also, check your manual. This kind of low-end point-and-shoot is not the specialty of most people on this forum–we mostly deal with prosumer or professional cameras. You’ll probably have better luck just contacting Canon directly!
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Use the “Change To Color” effect for the most control.
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Look up “After Effects Time Remapping” and you’ll find plenty of stuff. Try to find tutorials by obvious pros, not twelve-year-old YouTubers ☺ As for the morphing effect, After Effects’ built-in Optical Flow will work fine; here’s what it does and how to use it: https://theblog.adobe.com/optical-flow-time-remapping-tips-tricks-for-best-results/
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Dave, Twixtor is frame interpolation software, which is not quite the same thing. You can use it to do framerate converts, but it’s most useful for creating better-quality interpolation (using extensive masking) for extreme framerate conversion operations.
Twixtor is, in fact, useful as a frame-blending tool, but I suspect the guy who edited this piece is using Twixtor in place of After Effects’ built-in Optical Flow frame interpolation. Optical Flow would do the same thing as this at no extra cost, though possibly with marginally less control over the results.
As for syncing, OP obviously means the way that the editor timed the sped-up transition to sync with the music, which is simple when you know how to use AE’s Time Remapping tool correctly. However, there’s no automatic tool to do this–it’s a matter of manually editing the clip to sync with the beat. Twixtor/Optical Flow would then create the morph-y looking transitions between fast-motion and real time.