Jordy here for cinecom.net And welcome to Copy Cat Friday.
This is the series where we break down the effect from a music video or film.
In the music video Humble from Kendrick Lamar
there's a part where you see a motion controlled robot arm controlling a camera,
which creates these absolutely amazing results.
We don't have that unfortunately,
so we're going to try and recreate it with some basic tools.
This right here is my favorite spot in the office.
It's a beautiful view.
-Jordy!
Let's get to work!
-Let's get to work, guys! Let's get to work!
-Damn it! It's cold!
-Back upstairs!
The heating in the studio doesn't work yet, so it's pretty cold.
But it's all coming together though. Yesterday we painted all the walls black,
so we had to find our film equipment underneath a plastic cover.
[Upbeat music]
-It's Justine!
Look at this! -I really missed her.
-Don't look.
You wanna bring your camera from point A to point B, just like in the music video.
You can use a slider for that or a jib if you would like to go in any direction.
So, while Yannick is setting up the jib behind me...
...I wanna take a brief moment to thank Videoblocks who is sponsoring today's video.
It's a huge library where you can download stock footage, templates,
video effects, backgrounds and tons more.
We've been using it for almost a year now, and we've been loving it so far.
It's definitely something that we can recommend to anyone.
On top of that they're actually giving $50 off a year subscription.
With that you can download unlimited files from their library.
And if you don't believe me yet,
just start your 7-day trial completely for free,
you can do so by following the first link in the description below.
We first tried it on Justine, our stand-in.
As you can see I make slow movements,
because I wanna keep my subject at all time in the middle of the frame.
You can use any display guides to help you with that.
Once I'm on the end of my move, I let go of the camera.
Make sure that it stays in the same place.
[Upbeat music]
In Adobe Premiere Pro we speeded up the part where the camera crane moves.
The only problem we where running into was adding some natural motion blur,
but Yannick found a great solution for that, which we'll dive in later.
Since the test went great, we took our setup to a next level.
-Hey Yannick!
What you're doing?
-Making the light setup!
[Upbeat music]
Since we'll be speeding up the part of the camera movement,
Yannick, who insisted playing Kendrick's role,
had to play his part in slow motion.
That way it seems like the camera crane was actually moving at super fast speed.
Now, it was definitely not easy.
The timing of the camera starts moving...
...and Yannick going in slow motion had to be perfectly synced.
So, we tried it a couple of times to get it right.
But once we got it right, the effect looked pretty cool.
Here's what we did inside Premiere.
First up, we add a cut a little after the camera starts moving
and a cut a little before the camera stops moving.
Then on the first clip, we'll add a time remapping keyframe,
which goes to the maximum.
Drag that keyframe open,
so that it smoothly goes from normal speed to fast motion.
We do the exact same thing for the third clip,
but here we let it start fast and then gradually go to normal speed.
And if this went too fast, we actually have a dedicated video about time remapping,
to which you can find a link to in the description below.
The middle clip probably has to go a little faster than 1000%,
which is why we can't lift up the keyframe line on the clip.
That is why I'm taking the Rate/Stretch tool and push the clip smaller,
which will make it fast forward.
You probably wanna playback your clip a couple of times and adjust your speed remapping...
...on the outer clips and the speed of the middle clip.
After a little time we got this out of it.
It looks pretty cool, but...
...we're going to need some motion blur on the parts that have been speeded up.
We wanna create the impression that the camera was actually moving at that speed,
so that's why you wanna see some blurry background.
I'm adding an adjustment layer over the clips on which I'll add the Directional blur effect.
Just as the camera movement starts, I create a keyframe for the blur length.
When I'm at full speed, I increase that value.
I create that same keyframe again a little before the end of the camera movement...
...and then I would make a last keyframe back to zero on the final end.
Now, you might wanna ease out the first keyframe and ease in the last keyframe...
...for a smoother transition.
And now is also important that you adjust the angle of the blur.
If your camera goes into a fix direction, you can leave this at one certain value,
but if your camera is going up and down, you might wanna adjust this as well with keyframes.
The motion blur is applied on the entire image, so...
...under the Directional blur effect itself
I click on the Pen tool to create a new mask.
Around Yannick I would draw a very rough mask.
First I invert the mask and then I increase the feather a bunch.
From the beginning, I created a keyframe for the mask path.
Then I adjust my mask over time so that it stays on Yannick.
Important here is that the dashed line is somehow touching the edge of your subject.
If it would come to far, you will see this ghosting, which you need to avoid.
And that's all there is to it.
The result is of course not the same, but...
...considering we did this on a mini-jib,
it's pretty dope.
Thanks for watching, guys! This Sunday it'll be Christmas eve, so...
...happy Christmas to everyone who will celebrate that.
Those who don't...
...well, happy Christmas too.
And stay creative!
-So, Yannick. What's the plan?
-Creating a cool light set... [babbling sounds]
[babbling sounds]
Follow me, guys.
-Yannick, what are you doing?
-I'm making a thumbnail for "rewind".