Hey guys and welcome to another HitFilm tutorial.
Today we're going to be showing you how to add realistic camera movement, or camera shake,
to a static shot.
It's easiest to work with a visual effects shot when the camera isn't moving.
This means you can minimize on things like masking and tracking and you can focus on
making the shot itself really good.
What we're going to do is we're going to take the natural camera movement from one shot
and apply it to another.
Here's Josh to show you how.
Today we're going to show you how to take the camera motion from this clip, which as
you can see is handheld and moving around and then suddenly zooms in, and apply it to
this clip of Kirstie where she's standing, looking around the office and then suddenly
looks quite shocked.
Firstly we need to import these clips and we do this by simply double clicking in the
media panel and selecting the two clips to open them.
Now we're going to take the camera motion clip and make a composite shot of it by right
clicking on it.
We're going to change the name so that we don't get muddled up - just add 'comp' on
the end.
And now we're going to look at the motion of this clip.
What we want to do is track that motion so we'll expand the clip, go to tracks and click
the plus button.
This has created a single point track but this will only capture x and y values.
We want the rotation and scale as well so I'm going to change it to a double point track.
Now we have the two points.
They're a little bit fiddly so I'm going to zoom in.
The red box is the feature box.
This is what the software is going to look for and it's going to look for it within the
green box.
And you need something with a fair amount of contrast, something that's easy to see
so I'm going to move this one down to the bottom here where there's quite a lot of difference,
make it a little bit bigger and make the search area even bigger because we have quite a lot
of movement in the shot.
And then I'm going to do the same here, another edge where there's a lot of contrast, and
make that search area big again.
And then we just need to press the track forward button and hope that HitFilm does the magic
for us.
Now if you were trying to track something to stick onto a wall or to stick onto someone's
face, you would want a very, very accurate track.
But luckily in this case, because you're never going to see this original footage side by
side with the new shot we're making, the track doesn't have to be all that accurate.
It just needs to represent the data which is the motion of the camera.
So now we're finished - HitFilm has done a brilliant job here.
Now we need to apply this data to something.
So we're going to make a point here by going 'new layer' and then we're going to make a
point.
And we'll call this 'camera track'.
Now we go back to the tracker itself which has only x and y values but lets click rotation
scale so that we transfer those as well, and under layer lets select the camera track itself
and click apply.
Now if we go back to the viewer, and click on the camera track itself, you can see this
is very well stuck in the corner of that wall.
Now, other things that you won't notice from just looking there is if you go to the scale,
you can see that this is actually going up and down, as is the rotation.
As we zoom in, it doubles which is fantastic.
This means that whatever we apply this to is going to double in size also.
So lets go back to our media, click on the Kirstie clip which you will actually notice
is 4K.
If you can get a 4K clip here or something higher resolution than your expected output,
say HD, then this is going to retain the quality even when you zoom in or massively move around
inside the frame.
If you can't do that, you've only got HD footage and you want a HD output, if you're doing
something that's handheld and moving around a lot, you're probably not going to tell.
So for this comp you're going to be creating from this Kirstie clip, I'm going to actually
reduce the resolution down to HD.
Which gives us loads and loads of scope for moving around.
Now we're going to go back to our camera motion comp, copy that camera track and then paste
it into our clip of Kirstie.
Now all we need to do is parent it by using this drop down to the camera track.
And there you have it, the data for the camera movement - the zoom and the rotation and the
position is now all affecting that clip of Kirstie.
But hang on, this isn't the framing we want.
We don't just want Kirstie's hand in the clip.
This is where we can actually do some animation within this comp to rectify these kinds of
issues.
So lets go to where the camera is most zoomed in.
And then we're going to reposition Kirstie.
So we move her to the left, we move her down a bit.
This is the shocking final shot that we want, absolutely.
But then we need to actually look around the rest of the clip.
I'm going to add a keyframe here for position and scale but I'm going to animate the rest
of the clip.
So now when we move out to when the camera is zoomed out, first of all - I actually want
to increase the amount that we zoom out here.
And also the positioning isn't very good.
So I'm going to reduce the scale of Kirstie at this point down to 70% and then I'm going
to reposition her, leaving loads of gap around the edges if possible so that when this handheld
shot is moving around, it doesn't move out of frame.
So there we go, it zooms in doubly dramatically now.
But something's not quite right.
And that's because I haven't added motion blur.
There was no motion blur in this clip of Kirstie because it wasn't moving so by adding this
track on and creating this movement, we definitely need to add motion blur to make for a realistic
result.
And actually I've been quite lucky here.
If I go all the way back through the clip, it stays within frame the entire time.
But we could still improve this.
If we go back to where we zoom in, Kirstie does kind of move out of shot.
I wouldn't want her head out of shot for instance.
So what we can do, we can add another keyframe here where we just change the position and
just bring it down.
And now the result should be that as we zoom in, the camera pans up to Kirstie and we get
the final, dramatic result we really wanted.
You've moved the motion from one camera onto your clip and created a far more dramatic
shot in the process.
Hey guys, we hope you enjoyed that tutorial.
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