Stuart Coburn
Forum Replies Created
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Hi Johnny
Not sure about the prices over there but have a look at the Sony A1. I’ve used one of these several times and for the cost (about £1300 in the UK) it gives rather impressive results.
Its a 1080Hdv format camera which uses a Cmos chip instead of CCD’s and with the external mic and lens hood removed and a small battery fitted its even small enough to slip into a reasonale sized pocket. The only negative side i found with using it was the lack of control buttons/switches i’m used to on bigger cameras as most options are controlled using the touch screen menu.
For your budget its definitley worth a look and maybe a trip to a Sony dealer for a hands on tryout -
Having had a better look at it i think the others are right, it probably is a post effect utilising the virtual cameras and 3D space in After Effects. I’m sure there’s a good tutorial on how to do virtual camera setups in the AE tutorials section, i’ll have a look later when i’ve done some work to pay the bills!
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It is sort of as easy as putting them on top of each other, once you’ve planned what is going to go where so you fill the space correctly without overlapping action. The bit you might have trouble with is the pan, as it needs to be motion controlled and was probably done with a Milo, against a key screen with multiple passes.
You might be able to do a budget version using a CCTV motorised camera mount, fixed securely to a tripod or mount of some sort, set it to rotate or pan left and right, then key and composite the different elements. Once you’ve set it running, try not to move anything or even touch the camera, consistant speed is the key! -
Didn’t have time to watch it all, but…
The ‘Shimmering’ seems to be on the still aspects of the animation, for example, the guy shining the shoes about a minute or so in, his body is still and shimmering but his arms are moving and don’t appear to have the effect on.
It can be done by cycling between two slightly different frames. You’ll probably need to make each element of each character in Photoshop and decide what needs to shimmer, then make a slightly different ‘dupe’ layer. Build each character in it’s own comp in AE and you might want to build the shimmering components in their own comp so you can just make a 2 frame shimmer, nest that in a build comp and repeat it to fit. It might need more than 2 frames to see it working so have a play to see what looks right.
Hope this makes sense, i think it should work!
It reminds me of a cartoon series from the 70’s, Roobarb & Custard, all hand drawn and coloured with big marker pens for speed -
UK TV is indeed 25fps.
As with most jobs, the best thing to do is to get your client to give you a tech spec for delivery. This should partly cover your ass if there is a problem further down the line. If it’s for broadcast by a specific company BBC/Sky etc, give them a call and ask for a copy of their standards for delivery. -
I’d also be interested in peoples experience of using the DR-HD100 hard drives, as our studio consultants are pushing to add these, mainly for our ENG/PSC filming. Having used P2 for the last couple of years i can see the advantages of the system but the cost involved with equipping the cameras with drives doesn’t seem to add up at this stage.
I’m looking more towards tape capture on timecode sync cameras for external use and the previously mentioned SDI capture of the main mix, with tape backup in each camera for studio recording. The backup tapes would be scratch tapes to cover any switching or tech problems and for alternate edits at post stage.
So, are the drives really worth the investment? To buy these i’m going to have to sacrifice a few other items…..so, is it worth it? -
This is a handy thing to read for youtube related video, we’ve uploaded some music vids in the past which were shot in HD and compressed to H.264 using the settings in the guide
https://www.kenstone.net/fcp_homepage/youtube_compressor_gary.html