Chris Smith
Forum Replies Created
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Just a note, if you’re doing the look of the huge setting sun like in films (most notably Michael Bay helicopter shots), those are done with really long lenses (like 1000mm) in real life which compresses everything and makes distant objects look a lot bigger than normal. You may want to try that first.
Chris Smith
https://www.sugarfilmproduction.com -
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[Macohead] ” is the the camera moving and everything else is stationary or is it vice versa?”
You can do it either way. It’ll look the same in the end. Depends what you’re most comfortable with. Many people create all the elements and parent them all to a single null and animate that null so all the elements pass by the cam.
Chris Smith
https://www.sugarfilmproduction.com -
This used to be an over used effect in the mid-90’s. It would be done by actually recording to tape the telecine transporting the film back and forth. Normally it plays in real time to tape, but when you shuttle it it does what you describe. Where you are seeing all the frames sequentially but they aren’t synced, you actually see them move through the screen. But in the end, it was only used for odd cuts or transitions because the actual image isn’t interesting it just looks like a bunch of vague motion. Have you tried just doing a 15 frame loop for a test to see if it’s worth exploring further?
Off the top of my head without using expressions, you could use particular to set up an even stream of particles to go by in frame. Then assign a precomp of your movie to be the next frame attached to each “Custom” type particle. So each new particle that goes by the camera is assigned the next successive frame from your video.
Chris Smith
https://www.sugarfilmproduction.com -
This used to be an over used effect in the mid-90’s. It would be done by actually recording to tape the telecine transporting the film back and forth. Normally it plays in real time to tape, but when you shuttle it it does what you describe. Where you are seeing all the frames sequentially but they aren’t synced, you actually see them move through the screen. But in the end, it was only used for odd cuts or transitions because the actual image isn’t interesting it just looks like a bunch of vague motion. Have you tried just doing a 15 frame loop for a test to see if it’s worth exploring further?
Off the top of my head without using expressions, you could use particular to set up an even stream of particles to go by in frame. Then assign a precomp of your movie to be the next frame attached to each “Custom” type particle. So each new particle that goes by the camera is assigned the next successive frame from your video.
Chris Smith
https://www.sugarfilmproduction.com -
Well, there it is! Thanks, Steve. So who in that monster thread was the closet guess?
Chris Smith
https://www.sugarfilmproduction.com -
Check the archives. We had a looong thread about this a while back. Yes, Kudos to them for a seamless effect.
Chris Smith
https://www.sugarfilmproduction.com -
Josh: The behind the scenes I thought used to be on this page but I’m only seeing the “How to make a crowd” movie now with pics. Could be elsewhere:
https://belief.com/process/index.php?theme=wood§ion=process&project=02.Zoom+Network+Launch
Aroonz:
You shouldn’t believe your friends. Of course it COULD be done in Flame, but when it’s many times cheaper and easier to do it in AE, and Belief always uses AE, I would bet all my chips it was in fact AE. Back in ye olden times before AE5 when AE was only 2D, People did do a lot of that kind of work either in Flame/Inferno or in a 3D program.
Camera Moves: Those are pretty basic. They’re done in AE all the time. That’s the same kind of moves done in tons of mograph work over the last few years. The ol’ “Stop to smell the flowers then rush to some more flowers” thing. Search the archives here on camera moves. I know I personally have talked many times about how to use camera nulls in layers to make easy camera animation rather than trying to animate all rotations and positions on one single camera layer. Also remeber you don’t HAVE to move the camera. You can parent everything else in the world to a single Null and simply move that null around a static camera.
Chris Smith
https://www.sugarfilmproduction.com -
I don’t see anything there that can’t be done in AE (with a couple of plug-ins). The UPN logo looks exactly like their ZOOM logo which they mentioned was made with Particular. The people looked to be shot greenscreen, keyed and are flat images that are auto rotating to camera. The UPN logo could be done with Zaxwerks. But I think it’s just their original logo that was probably given to them and like the people is just a flat plane oriented to camera. The rest is just text and masked layers in 3D space with a heap of glow all over the place. The reflection can be a precomped layer inverted, blurred and displaced a little to look like a raytraced reflection.
Chris Smith
https://www.sugarfilmproduction.com -
Have you watched the behind the scenes of the ZOOM launch they did? There is a QT that breaks down each scene and all the elements involved and it may give you some insight into their methods.
Chris Smith
https://www.sugarfilmproduction.com