[Ambience and footsteps sounds]
Jordy here for cinecom.net! and it is Copy Cat Friday.
In this series we break down the effects from a popular music video or famous film.
And today we'll have a look at Contact
and in more particular the scene where Jena Malone runs up to the stairs to the bathroom
to get into the medicine cabin.
But as she approaches
you can see that the camera moves through the mirror of that cabin.
Now, before we start explaining how that was done,
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The first thing you'll need to do is find a little cabin.
And it doesn't even need to contain a mirror because we'll be placing a green screen in there.
I simply printed out some green colored papers
and pasted them on top of the actual mirror.
Next up we build a little set,
but you can of course also do this at home.
To make it yourself easy though, make sure the cabin can be reached from a straight line.
As for the lighting, I made sure that I had a soft box coming from the top
to eliminate as much shadow as possible,
which will make it easier for pulling off green key.
Now comes the filming.
Of course we can't actually move through that cabin,
so we're going to make two shots.
The first shot is where you wanna follow your actor.
Important here is that you're holding a long shot and that you take a little distance too.
You can even give your talent more headspace than usual.
At a certain point, the actor will open the cabin.
And at this shot you'll have to pretend that there is a cabin.
The camera guy should continue to walk backwards
and at the same time pan at the same speed as I am opening the cabin.
So that was the first shot.
The second shot will be at the cabin as an over shoulder.
The camera will start near the green screen,
make sure it's the only thing you see when you start the shot.
Then move backwards as your actor opens that cabin.
Now, pay attention that your opening the cabin at the same speed
and that the camera is moving at the same speed as the previous shot as well.
We needed a couple of trails to get the timing right,
so make sure that you also practice first if you would ever use this in a real shoot.
Let’s bring everything into Premiere Pro.
I have the two shots here in my timeline
and the first thing that we'll do is the green keying on the second shot.
You'll find out that it's not so simple to key it out.
The lighting is not ideal, you have a moving green screen, so
that are all complications.
To fix that, I'm opening up the Lumetri color window first.
If you're shooting flat or in a log profile, apply a LUT first
or do a basic color correction.
Next up we'll move over to the HLS secondary.
Here I can use the color picker to select the green.
I enable the Mask View from this checkbox
and can now refine my color selection through the hue, lighting and saturation selectors.
Make sure to play your clip and check if everything stays selected
as the cabin opens.
Once you got the selection right,
disable the mask
and now we're going to make sure that that green selection is extra green and more vivid.
Simply slide the tint all the way to the green side
and increase the saturation.
Now it will be a lot easier to pull of that key.
Head over to the Effects library and locate the Ultra Key.
Drag it to your clip and use the color picker to select the green color.
You might wanna refine your key a little with the controls below.
However, it's not a huge problem if the key is not perfect.
And we'll get into that in just a moment.
The first clip sits inside the mirror, so we'll have to flip it.
Simply drag the Horizontal Flip effect from the library to that clip.
Then put that second clip on top of the first one and align it
so that the timing is correct.
Pay attention to the hands,
so that they perform the same actions at the exact same timing.
We're also going to re align and scale the first clip.
And that was the reason that we shot it in a wider frame.
The imagine inside the mirror has to match with the second shot.
Just as I'm opening up the cabin I'm creating a keyframe for the position.
Then move a little back in time
and rearrange my position to a framing that I like.
The effect should already be working now, but
there's one final detail that we must complete and that is back at the keying.
You'll find out that the keying might not be perfect,
but as you can see in the example,
it also doesn't matter that much.
It looks like stains and makes the mirror more realistic.
However, I do want to keyframe the pedestal
to have a more aggressive keying in the beginning and slowly make it less aggressive.
That way the transition through the mirror fades in, instead of a hard cut.
And the same thing goes for when the cabin opens.
You might wanna keyframe the pedestal or another property
as your green tint is changing here
and you might wanna change the look of the reflection here.
Going back into the mirror works exactly the same,
so I'm going to leave that up to you, guys.
Thank you so much for watching
and as always,
stay creative!
Jordy here for cinecom.net!
And it is Copy Cat Friday!
Isn't that right, Sprinkles?
Oh yes, it is!
He doesn't want that.
Jordy here for cinecom.net! And it is...
Jordy here for cinecom...