Basic Movie SFX


Uploaded by videomaker on 26.01.2010

Transcript:
bjbj Cross-fades, layering and cropping go a long way in terms of some of the more basic
effects commonly used in movies today. This time we re gonna take a look at the Star Trek
effect and also we re gonna take a look at how to add multiple versions of yourself on
camera or the cloning effect. I m Tom Skowronski and this is Basic Movie Special Effects. Now
the first step to this process is to make sure you have a reliable and sturdy tripod
that you can lock down. You re gonna need to make sure it stays in the same place because
you re gonna be taking two separate shots and layering them or compositing them together.
Now after you ve locked down your tripod it s time to move on to the next step in this
process which is gonna be grabbing two separate shots. Now a couple of things you re gonna
need to keep in mind; number one, you re gonna want to make sure that the background of whatever
is happening in your shot doesn t have moving elements. If it does, it s gonna break your
effect. Also you re gonna want to make sure you hold those shots for about 10 to 15 seconds.
Therefore, when we overlay our effect it s going to work and we have enough time to transition
from either a subject beaming into frame or beaming out of frame. Now when it comes to
actually grabbing your shots first you re gonna need to grab an establishing shot without
a character involved. This is going to work later in your post-production process after
you overlay the shot of your character. The second shot, obviously, is going to be a shot
of your character reacting accordingly to what s happening in the scene. Now that we
have our two shots in our timeline the next step is gonna be to first take our establishing
shot, let it play out for two or three seconds and then overlay the shot of our subject reacting,
and how we re gonna do this is by simply raising our opacity or using a cross dissolve because
they virtually do the same thing. When working with a cross-dissolve or adjusting the opacity
we can actually change the amount of time it takes for a subject to appear on camera.
Once we add some sort of audio behind this to sell the effect it appears as if our subject
is slowly fading into frame or being beamed into the set. Now if we re only working with
one video track another way to pull off this effect is to insert first the establishing
shot then make a cut at the point in which our subject appears into the frame or when
we want them to and simply use a cross-fade, then again, add audio underneath that to sell
our effect. Now one way we could go about this effect is to add a noise filter which
most non-linear editors have nowadays on top of both of our video tracks, and when it comes
to the actual cross-fade process or when our opacity goes up, is to make sure that we raise
the grain or noise on that filter. Now any type of design element that feels right can
be used for this effect. The idea is to add more realism and more grain to that process
so that when people are transferring from frame to frame it actually looks like physically
their body is being transferred. Now let s take a look at a couple of examples of this
effect. Now when it comes to the cloning effect or the multiplicity effect we re gonna need
to make sure that, again, the first step we use is setting up our tripod and locking it
down. It needs to be sturdy and, again, you need to make sure that none of the background
has elements that are gonna be able to move. Now the second step of this process is where
things tend to get a bit complicated. Now you re gonna need to make sure that you make
a reference point to where each subject in your frame happens to be. Now you do this
by using markers or by the elbow room of both subjects that are gonna be included into the
shot. Now the reason you do this is so later in the post-production process you have a
reference point for where you need to crop your video to. If you don t follow this process
you can end up with your arm being cut out of a frame. Now this effect is gonna take
a great deal of planning that s gonna have to happen ahead of time in order to pull this
off. That s a real good point, Tom, listen to this guy, he knows what he s talking about.
Now the last step for this process it taking the shots, putting them into you non-linear
editor, getting them on the timeline and cropping your shots together. Sometimes some of the more basic elements
can help create a more advanced-looking production. When it comes to special effects, nothing
is more commonplace than fake blood. Now there are a lot of different techniques to pull
off this effect but we re gonna take a look at the variation which we feel is the most
realistic. Now the first thing we re gonna need to look at is the actual materials in
order to create our fake blood. After that we re gonna go over an overview of some of
the measurements and then we re gonna take a look at the adjustments. Finally we re gonna
take a look at some of the effects we can pull off when using this type of fake blood
effect. The first step in creating fake blood is having the right materials. Now there s
a lot of different ways that you can pull off this effect but, for us, what we did is
we used a measuring cup and measuring spoon so we could actually make sure we get a cup
of blood which is gonna be more than enough then we also used red and blue dye. Now the
blue dye is gonna add a little bit more depth and darkness to our blood. Now a very important
supply that you should always use which is gonna help with the consistency of the blood
which is gonna add more thickness and make that blood feel more real is corn syrup and
corn starch. Now the problem when creating fake blood is that it s very hard to get it
to feel very dark or look very dark like it s a nice, deep, nasty wound, and how we re
gonna do that is with the use of cocoa powder and also blue dye or blue food coloring. When
it comes to step number two we need to keep one thing in mind and that s that fake blood
looks thin and transparent. We need to make sure it looks more like real blood. It needs
to feel dark and very thick, so this is why the first thing that we re gonna put into
our measuring jar is gonna be our corn syrup. We re gonna need about eight tablespoons of
corn syrup. The next thing that we re gonna use to help add to our color and thickness
is gonna be our cocoa powder. We re gonna use about one teaspoon. You can also use a
quarter of a teaspoon of corn starch which is gonna help take away some of that color
if it s a little bit too dark after the use of the cocoa powder. Now the next thing you
re gonna wanna use is the blue dye. We used about a drop and a half because the blue dye
tends to overpower the red dye and it comes across as a little bit stronger. The last
step to the measuring process is to add about one full teaspoon of red dye to our mixture.
Step number three to creating fake blood is making the necessary adjustments after you
ve already measured everything out. So what we re gonna go ahead and do is add a little
bit more of our red dye, probably about another half of a teaspoon to give it a little bit
more brightness because it seems a little bit too dark right now. Now when it comes
to the type of effects you could use when you have fake blood the first thing that comes
to mind is actually a straight cut. Let s say you have two characters and one is fighting
with another. Now the simple reaction shot, all we need to do is use a toothpick or the
edge of a pin and you could apply the blood exactly where that subject or the impact happened.
So if I were to hit a subject in his jaw the next shot you would see would be the reaction
shot of the subject turning and looking towards the camera. Now another effect that we can
all do is create a blood pump. Now how we re gonna do this is with the use of some aquarium
tubing. Now imagine you have a straw. What you re gonna do is suck in the blood from
one end, then you re gonna seal off that end, and from there you re gonna blow it out whenever
you re ready to use that blood. So this is gonna be great for an effect in a film where
you want the blood to splatter out from a certain cut or wound, or to create extra drama
or impact on a scene. Now you can also use this blood to help add to an effect you already
have created, so in our case we used this artificial scar tissue and we simply added
by creating some blotches around the skin with the use of some simple make-up. The big
part of special effects is the ability to be creative and the best way to pull off those
special effects is to understand what your guidelines are and then how to work within
them to get them to work best for you. Design elements help improve your text or graphic
by adding creativity and style, and we re gonna show you how to make your very own unique
design elements. Now there s four things you need to know in order to pull off this effect.
The first thing is what materials you re gonna need to gather. The second thing is how to
set up those materials so that your camera can record it perfectly. The third thing is
some techniques you can use to make better design elements and the fourth thing is how
to implement those design elements into your project. I m Dan Bruns and this is Design
Elements. Now the two different design elements we re gonna be taking a look at are the ink
spread and the ink drop, and the materials you re gonna need for the ink spread is a
fish tank, some filter paper in order to drop your ink onto and watch it spread, your dropper
to drop the actual ink onto the filter paper, some black ink, some water and a bowl to put
your filter paper in and let it soak. Finally, another great material to have for both effects
is a white foam core board to use as a background behind your fish tank. Next up is the set-up
for both of these design elements. The first one we re gonna take a look at is our ink
drop. What you re gonna need for this is a tank and you re gonna want it placed on a
flat table just like we ve done here and then fill up your tank almost all the way to the
top with some water. Once you ve done that you re gonna wanna take your foam core board
and place it behind the tank either on a wall with some tape or on a post. Now in our case
we use a C-stand. After that you re gonna want to take two very bright lights and light
your foam core board in order to over-expose it. This is going to help you to composite
in your editing software. Now you re gonna want to make sure you zoom in all the way
with your camera until the white foam core board fills the entire frame. Now the last
part of this process is to take your dropper and fill it up completely with black ink in
order to put into your tank. When it comes to the ink spread effect you re gonna wanna
take the tank and place it on its side between two objects of the same height. Now in our
case we used six shipping boxes. When it comes to lighting, unlike our ink drop effect we
want the ink spread to look like a silhouette. Now in order to do this we re gonna take two
strong lights and put them directly over the top of our tank to make them shine straight
down through the paper and make it look over-exposed. The next thing that you re gonna wanna do
is take your filter paper and put it into a bowl filled with water so that you soak
the filter paper completely, then you re gonna want to take that filter paper and place it
on top of the tank and flatten it out so that there s no air bubbles. Similar to our ink
drop design element we re gonna want to take our dropper and fill it with black ink. Now
the next thing we re gonna look at is some techniques to pull off this effect. The first
one we re gonna look at is the ink drop effect. Now with the ink drop effect the first thing
you re gonna want to make sure is that the water stays even the entire time in your tank.
Otherwise your ink might actually have a zig-zag design to it. Another great idea is to link
your camera to a video monitor so you can actually see what you re doing and exactly
where you should place that ink drop. And the last thing you re gonna want to look at
doing is instead of just dropping one drop at a time into your water is actually shooting
the drops into your water and this adds a lot of variety to your effect. Now some great
techniques you can use to pull off the ink spread effect is to make sure you have a tripod
that can get low to the ground so that you can point it straight up through the tank.
Something else to consider when pulling off this effect is to use different types of filter
paper which will allow you to get a variety of ink spreads. The last thing you can do
is instead of just dropping single drops of ink on your filter paper you can squeeze out
the ink to make designs. Now using this technique you can actually spell a person s name out
and watch it spread naturally afterwards. The last step we re gonna take a look at is
how to implement these elements into your design. Now you re gonna wanna take these
elements into your favorite editing application and make sure that the background, the white
background from the foam core board is completely blown-out or completely white by using things
like contrast and brightness. That will help you when you use your composite mode such
as overlay to get rid of the background and make it completely transparent. Now once you
have composited your elements into your design you may want to look at making your design
even better by speeding up your ink drops and also by taking multiple ink drops and
putting them together in one title design. Making great video doesn t always involve
huge explosions and special effects. Instead, by using the techniques we ve showed you today,
you can make your titles and graphics equally as impressive. As you may know video is comprised
of 30 frames per second and when you break down those frames you can get some really
cool special effects using stop motion animation. So let s take a look at light paint animation.
Now this effect can be achieved in four simple steps and the first step we re gonna take
a look at is how to set up our actual scene. Next we re gonna want to take a look at our
camera setting, then we re gonna show you how to actually shoot the scene and, lastly,
we re gonna drop it into our non-linear editor. I m Dan Bruns and this is Light Paint Animation.
The type of set-up you re gonna need to pull off this effect is (a) to shoot in a very
dark room or (b) to shoot at night time outdoors. Now the reason you want to do this is because
you re gonna have you shutter open on your camera for a long period of time and you don
t want to over-expose your image or see the people that are gonna be doing the light effect.
Just remember for this effect you re gonna wanna use a still camera that can open its
shutter for long periods of time for two to three seconds so you can capture that light
streak effect. Now you don t necessarily need to use an SLR camera where you detach the
lens. You can use your camera from home. The next thing you re going to want to do is to
grab a tripod and lock your camera down. Now this is helpful because you don t want your
scene to have any motion blurring. At this point you re gonna want to take a look at
getting some light into your scene. Now for us we took a ruler and taped an LED light
and a battery to it with electrical tape, then through the center we drilled a hole
that we could put a handle in so we could get accurate circles when we spun our ruler.
Now for you, you could use a flashlight or an LED panel. Okay, now take a look at this
piece of footage and tell me what s wrong with this scene. Now although the effect looked
good the problem with our effect is we had too small of a room and too much shiny objects
in our scene that light could bounce off of and kind of break our illusion. After taking
a look at this you could probably tell that it s best not to be in a small room -- [End
of Audio] Basic Movie Effects Page PAGE of NUMPAGES www.verbalink.com Page PAGE of NUMPAGES
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"Arial sic Movie Effects www.verbalink.com Page Times New Roman Cross fades, layering
and cropping go a long way in terms of some of the more basic effects commonly used in
movies today. This time we re gonna take a look at the Star Trek effect and also we re
gonna take a look at how to add multiple versions of yourse on camera or the cloning effect.
I m Tom Skowron ski and this is Basic Movie Special Effects. Now the first step to this
process is to make sure you have a reliable and sturdy tripod that you can lock down.
You re gonna need to make sure it stays in t he same place because you re gonna be taking
two separate shots and layering them or compositing r them together. Now after you ve locked down
your tripod it s time to move on to the next step in this process which is gonna be grabbing
two separate shots. Now a couple of things you gonna need to keep in mind; number one,
you re gonna want to make sure that the background of whatever is happening in your shot h doesn
t have moving elements. If it does, it s gonna break your effect.t Also you re gonna want
to make sure you hold those shots for about 10 to 15 seconds. Therefore, when we overlay
our effect it s going to work and we have enough time to transition from either a subject
beaming into frame or beaming out of frame. Now when it comes to actually g rabbing your
shots first you re gonna need to grab an establishing shot without a character involved. This is
going to work later in your post production process after you overlay the shot of your
character.. The second shot, obviously, is going to be a sn hot of your character reacting
accordingly to what s happening in the scene. Now that we have our two shots in our timeline
the next step is gonna be to first take our establishing shot, let it play out for two
or three seconds and then overlay the shot o f our subject reacting, and how we re gonna
do this is by simply raising our opacity or using a cross dissolve because they virtually
do the same thing. When working with a cross dissolve or adjusting the opacity we can actually
change the amount of time it takes for a subject to appear on camera. Once we add some sort
of audio behind this to sell the effect it appears as if our subject is slowly fading
into frame or being beamed into the set. Now if we re only working with one video track
another way to pull off this effect is to insert first the establishing shot then make
a cut at the point in which our subject appears into the frame or when we want them to and
simply use a cross fade, then again, add audio underneath that to sell our effect. Now one
way we could go about this effect is to add a noise filter which most nonn linear editors
have nowadays on top of both of our video tracks, and when it comes to the actual crossr
fade process or when our opacity goes up, is to make sure that we raise the gra in or
noise on that filter. "System Verbal Ink Basic Movie Effects Cross-fades, layering and cropping
go a long way in terms of some of the more ba Now the first step to this process is to
make sure you have a reliable and sturd Now after you ve locked down your tripod it s
time to move on to the next step i Also you re gonna want to make sure you hold those
shots for about 10 to 15 seco Now that we have our two shots in our timeline the next
step is gonna be to firs When working with a cross-dissolve or adjusting the opacity
we can actually chan Now if we re only working with one video track another way to pull off
this effe Now one way we could go about this effect is to add a noise filter which most
no Now any type of design element that feels right can be used for this effect. Th Now
when it comes to the cloning effect or the multiplicity effect we re gonna n Now the
second step of this process is where things tend to get a bit complicate Now the reason
you do this is so later in the post-production process you have a Now the last step for this
process it taking the shots, putting them into you no When it comes to special effects,
nothing is more commonplace than fake blood. Now the first thing we re gonna need to look
at is the actual materials in order The first step in creating fake blood is having the
right materials. Now there Now a very important supply that you should always use which is
gonna help with Now the problem when creating fake blood is that it s very hard to get it
to fee When it comes to step number two we need to keep one thing in mind and that s
th The next thing that we re gonna use to help add to our color and thickness is go
Now the next thing you re gonna wanna use is the blue dye. We used about a drop Step
number three to creating fake blood is making the necessary adjustments aft Now when it
comes to the type of effects you could use when you have fake blood So if I were to hit
a subject in his jaw the next shot you would see would be th Now imagine you have a straw.
What you re gonna do is suck in the blood from on Now you can also use this blood to
help add to an effect you already have create Design elements help improve your text or
graphic by adding creativity and style The third thing is some techniques you can use
to make better design elements an Now the two different design elements we re gonna
be taking a look at are the in Finally, another great material to have for both effects is
a white foam core bo Once you ve done that you re gonna wanna take your foam core board
and place it Now you re gonna want to make sure you zoom in all the way with your camera
unti When it comes to the ink spread effect you re gonna wanna take the tank and plac
The next thing that you re gonna wanna do is take your filter paper and put it i Similar
to our ink drop design element we re gonna want to take our dropper and Another great
idea is to link your camera to a video monitor so you can actually And the last thing you
re gonna want to look at doing is instead of just droppin Something else to consider
when pulling off this effect is to use different type The last step we re gonna take a look
at is how to implement these elements into Now once you have composited your elements
into your design you may want to look Making great video doesn t always involve huge explosions
and special effects. As you may know video is comprised of 30 frames per second and when
you break do Next we re gonna want to take a look at our camera setting, then we re gonna
sho The type of set-up you re gonna need to pull off this effect is (a) to shoot in Just
remember for this effect you re gonna wanna use a still camera that can ope The next thing
you re going to want to do is to grab a tripod and lock your came Now for us we took a ruler
and taped an LED light and a battery to it with elect Okay, now take a look at this piece
of footage and tell me what s wrong with thi After taking a look at this you could probably
tell that it s best not to be in [End of Audio] Title Headings StyleName="APA" xmlns:b="http://schemas.openxmlformats.org/officeDocument/2006/bibliography" xmlns="http://schemas.openxmlformats.org/officeDocument/2006/bibliography">
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