This video is brought to you by Adorama.
What's up, you guys! it's Jordy here for cinecom.net
and welcome to Copy Cat Friday.
Now, this is a series where we find a creative way to recreate a certain...
Yannick: -Jordy! Jordy!
-Hey! -Yannick!
-Hey! -What are you doing up there?
-I'm chilling. -Come down!
Yannick! No, wait!
Stay there. I'm coming to you!
-Okay, okay.
-You have to jump! -Okay.
Here we go!
-3, 2, 1...
-Hey! Well done Jordy, well done.
-Wow!
How cool is this!
-Lorenzo! -Lorenzo, come on!
-Jump! This is way too cool! -Just come!
Yannick! Stay there!
Wow! This is weird!
[Cinecom's intro music]
So, like I was saying,
this is a series where we find a simple way to recreate
a certain effect or film technique.
And today we're having a look at Ariana Grande
and her new clip No Tears Left To Cry.
An amazing video with tons of visual effects in a fantasy theme.
They even have a behind the scenes video, which I'll leave a link to
in the description below.
Now, one of the effects is this inception thing.
And we found a pretty simple solution to recreate that,
if some conditions are met.
[Pop music fades in]
-Okay, we kind of have a little problem.
As you can see, we have a green-screen set up.
But one thing is not working out so much, I guess.
The wind is blowing way too much.
We basically built a seal.
But,
on the positive side,
the green-screen is super tight, no wrinkles.
Now, everything went pretty okay.
You take one shot with the green screen and one empty shot.
But then when we put those two shots together, we saw a pretty big lighting difference.
And that was because the weather was changing all the time,
we had to bring it back into our studio.
And, by the way guys, I have a link in the description below
that goes to a chroma-key kit.
I have some different things in there, from portable screens, to bigger cloths and all.
And they all link to Adorama, who we've partnered up with,
because it's not just any other web shop.
I was really surprised to not only find the big brands, but also the less popular ones.
They care a lot about their customers with personal help
on making any purchase choice.
I have experienced that myself and that I find very valuable.
If you like to check it out and drool a bit on the gear they have
then make sure to click the first link in the description below.
So, we are trying to find the most simplest way
to recreate this effect inside Premiere Pro.
And that unfortunately comes with some limitations.
Definitely if you want to jump from one side over to the other.
So, that's why we are shooting this whole thing in our studio,
where we have a clean surface, a concrete surface,
and a clean black wall in the background.
You can also do this, for example, on a Beach,
where you have a clean sand surface,
a clean sea and a clean sky.
Make sure that there aren't too much clouds up there.
also no boats in the background.
then it should also work.
However, you can of course design your set a little bit,
you know, we also have a motorcycle in the back,
we've got a minion over there, some plants and a skateboard.
You can definitely go for that.
But make sure that it's not going to cover your green-screen.
And that is the next thing, so let's have a look at what we're doing over there.
So, you want to take two shots.
One empty shot of the space and the second one with the green-screen.
And that green-screen sits right here.
And we're going to place that onto the scene
and your subject, who's going to jump from one side over to the other,
has to stand exactly within that cloth.
Now we are aware that such a studio where you can control the lighting perfectly
it's not accessible to everyone.
So, that's why we're going to take a look at a different technique,
which is going to be done outside.
-Like Jordy said earlier,
it's too hard to do outside because of the light changes
when using a green-screen.
But, if you keep it simple, you can do it anyways outside,
because you don't need an empty shot.
Just use your shot, duplicate it,
and then bend it. Simple as that!
Before we'll do the easy way with throwing a stick,
we're first going to see how to jump between the two worlds.
In our studio we first took a shot of the empty space,
and you can already place this one in your timeline
and make a duplication of it right away.
Then rotate that duplication 90 degrees.
Under Opacity click on the Pen tool to draw a mask in an angle.
Pay attention to the perspective that you're creating right here.
Next up you can reposition the wall that you've just created, if that is needed.
To cover up the gap you still have on the left,
duplicate that layer and remove the mask form it,
because we're going to create a new one.
This can be a rectangle, which you'd also need to feather a bunch.
Then move that clip to the left to cover up the gap.
Now, there's one more thing we have to do, and that is in the background.
Because of our lighting in the studio, the mask is quite visible.
So I'm creating a color matte.
Pick the color from the wall in the back and place it in top of everything.
Then draw a mask around it and feather it.
You don't always have to do this
and we'll also show you guys when you don't, later on.
Then your second shot goes on top,
add the Ultra Key effect to it and remove all the green.
For more guidance on how to setup and pull off the perfect green-key,
you can click in the card up there.
With the pen tool you then wanna draw a rough mask around the subject
and if the edge of your green-screen is visible,
you might need to be more precise around the legs.
Once you got that in place, head over to the Mask Path Properties
and enable the animation.
Now you wanna move forward in time and adjust your mask.
If you didn't have too close in on the legs,
you can skip multiple frames and adjust.
But in this case, we need to adjust our mask frame by frame.
Finally right click on that clip and choose Nest.
On that nest we'll then apply the Transform effect
and we're going to create a keyframe for the position and rotation
just where I start to jump.
Go a little further and rotate that clip 90 degrees.
And you might also need to reposition that clip as well.
Important now is that you let the rotation start a little earlier
than then position animation.
Finally, de-check to use composition's shutter angle and set one of your own
to get a natural motion blur.
[Pop music level increases]
We've also added some fake camera movement to it,
which is a free preset pack that you can download from our website.
Again, link in the description below.
Then the outside shot goes exactly the same.
You duplicate, rotate, draw your mask.
And here the background does come out better
because of the flatter lighting.
Just make sure to play around with your mask
so that any tree or bush comes out well.
-If you want some interaction between the two shots,
you can easily do this with some editing tricks.
just make your subject throw something.
First, let him throw in front of him,
then let him throw above him.
In post-production then, you put your front throw on the bottom,
and the above throw on top.
Do the same handling as Jordy said,
and you get a seamless perfect effect.
[Music fades in]
Make sure to subscribe and join the Tribe
to see us twice a week with more creative filmmaking tutorials.
Thank you all so much for watching,
thank you Adorama for the support today,
and like always:
stay creative!
[Dog barking]
-She's going crazy, she loves sand.