This video is brought to you by Adorama
[Music]
-Was I daydreaming there! Ha, ha!
[Cinecom's intro music]
Jordy here for cinecom.net and welcome again to Copy Cat Friday!
Woo!
Double flip!
Oh! Ha, ha!
So, like I was saying my name is Jordy for cinecom.net
and you're watching Copy Cat Friday.
A weekly series where we recreate an effect from a popular film or music video.
And this week the music video SAD! from XXX Tentacion
was trending out of the roof!
Honestly, I don't follow the artist, but I did take a good look at his music video
and there're two times where we see this transition
where we zoom through his eye into another scene.
-So, Jordy is trying to attempt a laser flip,
you know, the trick he fell down with and broke his wrist.
-Agh! F#*k!
[Music]
-Look at him now! How cute! -But I got protection now.
Maybe also the other wrist.
-How cute! He's like a little skater boy!
-Alright, one try. If it fails, it fails.
That's it.
-Damn it!
In the original videoclip you can see the rapper sitting in a dark room
on a chair.
He is lit by one single light and that is some sort of a softbox
like you can see over here, or a very large soft frame,
but, important is that you're going to cut off the light.
Now, we're using a grid for that,
and that way the light won't spill on the walls, etc.
This right here is a dome from Aputure,
this is the 120D, so it comes with tons of accessories
like this dome, for example, which you can take off, etc.
this here is the actual light.
This is the first-generation softbox, I think, and it didn't come with a grid,
so I found this one on eBay, I'll also leave a link to it in the description below.
Currently they do have a second generation of these soft boxes,
which I'll also leave a link to in the description below,
and they do come with one of these grids.
We want to have the lights coming more from above, so not so much from the side,
which is why I have hang it on this C-stand right here,
which allows me to extend the light a little bit further
and that way the stand itself won't be in the frame.
It's important that you have the light somewhere above of the subject
so that we don't have too much shadow on the floor
and that he's also lit here on the top,
and we don't have too much bright areas on his face.
To have more depth in your shot
it's important that your lighting is coming from the other side of your subject
so, actually on the back.
and that is why that I'm actually turning this softbox right here,
not really above him, definitely not on that side
where it's sitting more in front of the camera,
but I'm going to turn it behind him, like this.
I wanna take a brief moment, guys, to thank our partner Adorama,
which is an online store for basically any video equipment.
They are a large and well established company
which is why they can offer personal support when you're buying a new camera
or anything else.
Adorama also runs multiple promotions across the entire year.
To check out what they all have in store
make sure to click the first link in the description below
or you can also check out our kits of the gear that we use in the studio.
So, that was the first shot, or actually the second shot,
Let's now take the first shot which is outside
and I'm going to take off the sweater because it's 30 degrees outside...
...Celsius, and that means it's pretty darn hot.
So, for this shot I'm wearing the palms shirt.
Yep!
In your first shot that we're taking second,
it's not really important that you shoot this from a slider,
you can also just shoot this from a tripod,
but it is giving more dynamic your shots.
Yannick! put the camera away.
So, you can use one.
So since the sun is shining in my face
we're going to add one of these light cutters, which also goes on to a c-stand.
We're going to go inside because I have trouble to keep my eyes open,
there's too much light here.
Laser flip, take 3.
-Damn it! Agh!
So we've got our two shots, let's bring 'em intro Premiere Pro.
The transition itself might seem easy, but it's actually not.
And that is due to many glitches and bugs within Premiere.
But after many trials and errors, we did found an easy way to make it work.
Let’s start off by placing your clip into a timeline.
Since my head and the camera is moving a little bit,
we're going to cut the last part of the clip
and add a Frame Hold to it.
This is going to make it easier for us to zoom into the eye
and not having to motion track the mask.
So, with that selected, head over to the Opacity
from which you can click on the Ellipse Mask preset.
Change it's size an position to cover the pupil of your eye.
When you're done, make sure to invert the mask.
Next, you wanna duplicate the clip you've just applied the mask on to the layer above.
From this duplication we're going to remove the mask.
Trim it and add a cross dissolve on the end.
This will let the hole in your eye fade in.
Then select everything, right click and choose Nest.
Now let’s create that rotation.
You wanna apply the Transform effect to this nested sequence.
Head to the point where your Frame Hold starts.
Here you wanna place the anchor point of the Transform effect in your eye.
This is important because the anchor is the point
where the effect will rotate around and zoom into.
You wanna have both of these crosshairs on the exact same point.
However, moving one will push the other as well, so...
…it’s a little trouble here, but you can do it.
I believe in you!
Once that sits in place, we can animate the scale to 300 or 400%.
It depends on the resolution of your clips.
If you go too far Premiere will crash.
Then also animate the rotation and let it make one complete turn.
For a smoother transition, you can ease out both of the starting keyframes
and when you expand the scale and rotation properties
you can pull on the levers to make sure that the animation starts very smooth
and speeds up slowly.
Finally, disable Composition's Shutter Angle and set one of your own
to get some nice motion blur in there.
Now, we're going to nest this nested sequence again.
We have to do this to avoid another glitch in Premiere.
Luckily this is the last time, however.
On this new nested sequence, we're again going to move the anchor point on the eye.
This time it can be the anchor point of the normal Motion property.
I ran into an issue where the clip seemed to zoom in below the anchor point.
That's why I'm placing it a little bit above my pupil.
Now, just simply animate the scale
and increase it so that it goes through your eye.
Like before, I'm choosing ease out on the first keyframe
and pull on the lever to let it start smoothly.
So, that is the first part of the transition which was the most complex.
The second clip goes below your first, as you want them to overlap a little bit.
Just like with the first clip, we're adding a Transform effect to it.
If you like, you can change the anchor point again, but it's not necessary.
Animate the rotation and let it turn 360°. Then also animate the scale.
This time I'm going from something like 50 to a little bit over 100.
Make sure to smoothen out the keyframes too.
Again, to avoid problems, right-click and nest the clip.
What you wanna do now is reposition and scale the clip to make it fit in your eye.
You might also need to nudge the clip to synchronize...
...the rotation with your first clip.
If it would go too fast or too slow, then go back into the rotation animation
and move the keyframes closer or further apart.
With a little trial and error you should get the clip in the right spot.
Since I scaled down my second clip to make it fit within the eye,
I'm going to animate the scale of that property as well
back to 100%, as it reveals itself.
I've gone many times back and forward between the different keyframes
and their animation curve to make sure that everything fits nice together.
There's one final thing I'd like to show you guys,
and that is the stop-motion effect we also see in the music video.
Pretty cool is that the zoom in animation goes fluent,
but the movement of the actor not.
This is super simple. Double-clicking on the second clip to open up the nested sequence,
we're going to add the Posterize Time effect to it.
And this allows us to set the frame rate of that clip to 12,
which creates that stop-motion feeling.
Now, important is that you move this effect above the Transform.
Else, you will also add the lower frame rate to the transform animation
And that is obviously not what we want.
[Music]
Coming back out of the eye works obviously exactly the same...
...but then the other way around.
Now I'm gonna try and do that laser flip one more time.
Lorenzo, get the camera!
[Music]
Yeah! Woo-hoo!
Yes!
Yes! Yes!
That was like, the one hundred try.
Lorenzo, you do the Outro.
-First, give a big thumbs up for Jordy's laser flip,
thank you for watching, thanks Adorama for sponsoring this video,
and, as always...
-Stay creative! Now, get back to work, you guys!
-Agh!
Ah, ha, ha, ha!