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  • This video is brought to you by LG UltraWide.

  • Hey guys, it's Jordy here for cinecom.net

  • and welcome to Copy Cat Friday.

  • This is a series where we find a creative way to recreate

  • a certain film effect.

  • And today we'll recreate this effect right here,

  • which comes from the season II trailer of 13 Reasons Why.

  • So, let's get into it!

  • [Cinecom's intro music]

  • I haven't personally seen 13 Reasons Why,

  • but this effect was highly requested by you guys,

  • which is why we're coping this effect today.

  • Now, the series is about suicide and before we start

  • I do have to mention that any form of depression

  • or suicidal thoughts is a very serious matter,

  • definitely in today's Society.

  • I'm not a specialist, but I do believe that the best thing to do is talk,

  • whether you or a friend is in such a situation.

  • But let's focus on the effect right now,

  • which you can see very well executed in their season 2 trailer.

  • The way they've done goes a lot further than we're going to do,

  • but that's because I wanna keep it as entry level as possible,

  • because I know a lot of you guys are new to After Effects.

  • But before we jump there, we first have to design our sets.

  • -So, we have a bunch of very old pictures and frames right here,

  • this right here is actually my mother,

  • and over here this is my sister!

  • Look how cute she is!

  • So, we're going to hang these frames right here to the wall,

  • because we are going to need a lot of texture in the background,

  • and you'll see later in this tutorial, why that is.

  • So, let's hang them to the wall.

  • [Hard rock music]

  • Yannick! You can't put a brand-new monitor in a mid-century scene!

  • -But she's so pretty!

  • [Music fades back in]

  • More about that brand new LG monitor later on,

  • first let's film.

  • We shot everything on a gimbal,

  • as that was the easiest way to get a smooth tracking shot.

  • But, of course, you don't have to.

  • You can perfectly walk with your camera as well.

  • Yannick is standing as still as he can

  • and that way it seems like the camera is floating in a still picture.

  • Kinda like the mannequin challenge.

  • And as you can see there're no polaroid films in the air,

  • they are all added in post.

  • But we do wanna capture those polaroids.

  • So we're taking some separate pictures of a a real polaroid

  • and the reason I'm doing this and not going for a stock photo

  • is that I retain the same lighting

  • and thus the blending will go a lot better.

  • And if you really wanna make it blend well,

  • take some pictures in different angles.

  • And that's the only thing that we have to shoot.

  • So let's now design the second set.

  • [Music level increases]

  • -No, Yannick!

  • That makes absolutely no sense in this scene right here!

  • Shooting the second scene goes exactly the same.

  • Only here I'm paying attention to the way I start moving my camera.

  • If I ended my first shot by moving to the right,

  • I will also start moving to the right now.

  • And ideally you also wanna start somehow at the same speed.

  • -And... Cut!

  • Let's go to the editing room!

  • Since Yannick does most of the editing at Cinecom,

  • he gets the brand new LG Ultra wide monitor

  • that was send to us.

  • It has an amazing Quad HD IPS curved display,

  • with over 99% coverage of the sRGB spectrum,

  • making it perfectly suitable for professional video editing.

  • A super nice design and having an ultra-wide single display

  • makes it so much more user-friendly to work in any creative program.

  • And because it's a single display,

  • Yannick's computer has a few extra ports available

  • so that he can keep using his old monitor for media management.

  • But to find out more, make sure to hit the first link in the description below.

  • So, inside Adobe After Effects

  • the first thing you can already do is bring your shot into a new composition.

  • And we wanna track the camera movement that I've done.

  • So I'll select my clip and head over to the Tracker window.

  • And in here you can just hit the Track Camera button.

  • After Effects will now analyze your movement

  • and when it's ready you'll see a bunch of a tracking data

  • appearing on your clip.

  • Now you wanna head over to the effect controls

  • and under the Camera Tracker effect, click on the Create Camera button.

  • And this will add a virtual camera to your composition,

  • which should have the same movement as you made your shot.

  • And you can check that by setting your View Mode in your output panel

  • to "four view".

  • You can now see a top and side view

  • of that virtual camera and its path.

  • And this is already a very big thing.

  • We can now go ahead and add any element in that virtual space.

  • So right here I have that photo of the polaroid,

  • which I'm going to add into a new composition.

  • Then I wanna take the Rectangle Mask tool on top

  • and draw a mask where the current picture is in.

  • Then head over to your layer, open it up,

  • click Mask and select Inverted.

  • You can also now feather the mask a tiny bit.

  • This leaves us with a whole in the polaroid,

  • so I'm going to create a black solid and place it underneath the Polaroid.

  • Now some of these polaroids are just black,

  • some have a picture inside and...

  • one of them will contain the video to our next scene.

  • If you wanna have some different kind of pictures over your scene,

  • then you have to select that composition in the Project panel

  • and hit control or command+D to duplicate it.

  • In that duplication you can then add something else in there.

  • So let's now bring this into our main composition.

  • Simply drag the entire composition of the polaroid to your timeline

  • and you wanna enable 3D for that layer.

  • If you can't find that option, then right-click in your columns

  • and enable switches.

  • You can now check the 3D for that layer.

  • If you select that clip in the output panel,

  • you can now also move that to a different position.

  • And I would always suggest to pull on the axis lines.

  • You have an X, Y and a Z axis to move the polaroid around in that space.

  • You can look at your different views to see where that polaroid is positioned.

  • If you need to rotate it, I would suggest doing that from the layer properties.

  • You can do so now by selecting it and hitting the R key on your keyboard.

  • And then you can rotate it around any axis.

  • Then just continue adding other polaroid compositions

  • or the same one to your current scene.

  • Give them a position and fill up your shot.

  • [Toilet ambience sounds]

  • Then comes the transition.

  • This is going to be the polaroid with the next scene inside.

  • And you wanna align it in your 3D space

  • so that the camera covers it up.

  • Next I create a new composition and...

  • ...you can name this Final Result or something, because in here...

  • ...we'll bring all the compositions of each separate scene.

  • And the first scene goes on top.

  • And the second one underneath.

  • And I then select the upper comp,

  • hit T on my keyboard to open up the opacity

  • and decrease it to around 50%.

  • And this way I can see through and align the composition underneath

  • so that the transition is seamless.

  • Once you got it in place, you can set the opacity back to 100%.

  • Finally we're going to add a little bump into the second scene.

  • From the Effects library

  • I drag the Turbulent Displace effect to the second comp.

  • In here I wanna create a keyframe in the beginning for the amount

  • and evolution.

  • Then go a little further in time and change the amount to 0

  • and the evolution to 360°,

  • or one rotation.

  • Finally, right-click on the last keyframe of the evolution

  • and choose ease in.

  • With that keyframe selected I then click on the Graph View on top

  • which allows me to change the animation curve.

  • The higher the curve, the faster the animation goes.

  • So by pulling it to the left,

  • the animation will go super fast in the beginning and slowly fade out.

  • And this is what creates that hard bump during the transition.

  • There's one last thing I wanna do and that is in the composition of the polaroid

  • where we have this second scene in.

  • The video is too clear.

  • Just like in the trailer, I'd like to create a texture over it.

  • And you can find any texture on the internet.

  • Just place one on top of your clip

  • and change its blending mode to Overlay.

  • On the end I then animate the opacity so that the texture fades out.

  • Then add your favorite color correction to it

  • which you can also do inside Adobe Premiere Pro and enjoy the results.

  • [Music kicks back in]

  • Thank you guys so much for watching again,

  • thank you LG for the support

  • and to find out more about Yannick's new girlfriend

  • you can click the first link in the description below.

  • But, before you do so...

  • ...stay creative!

  • -So, Yannick is trav...!

  • ...he traveled back to the future!

  • -So, Yannick he is a trav...

  • ...he traveled back to the past, you can tell...

  • Wow!

  • -Ha, ha, ha!

  • But, what he did forgot was his desktop computer!

  • Ha, ha, Yannick!

  • -Joke's on me.

This video is brought to you by LG UltraWide.

Subtitles and vocabulary

Operation of videos Adjust the video here to display the subtitles

B1 US polaroid composition scene camera effect select

3D TRACK YOUR CAMERA MOVEMENT (13 Reasons Why)

  • 1 0
    Junger hu posted on 2020/06/02
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