This video is brought
to you by Adorama.
What's up, you guys! it's Jordy
here for cinecom.net
and welcome to Copy Cat Friday.
Now, this is a series where we find
a creative way to recreate a certain...
Yannick: -Jordy! Jordy!
-Hey!
-Yannick!
-Hey!
-What are you doing up there?
-I'm chilling.
-Come down!
Yannick! No, wait!
Stay there. I'm coming to you!
-Okay, okay.
-You have to jump!
-Okay.
Here we go!
-3, 2, 1...
-Hey! Well done Jordy,
well done.
-Wow!
How cool is this!
-Lorenzo!
-Lorenzo, come on!
-Jump! This is way too cool!
-Just come!
Yannick! Stay there!
Wow! This is weird!
[Cinecom's intro music]
So, like I was saying,
this is a series where we find
a simple way to recreate
a certain effect
or film technique.
And today we're having a look
at Ariana Grande
and her new clip
No Tears Left To Cry.
An amazing video with tons of visual
effects in a fantasy theme.
They even have a behind the scenes
video, which I'll leave a link to
in the description below.
Now, one of the effects
is this inception thing.
And we found a pretty simple
solution to recreate that,
if some conditions are met.
[Pop music fades in]
-Okay, we kind of have
a little problem.
As you can see, we have
a green-screen set up.
But one thing is not working
out so much, I guess.
The wind is blowing
way too much.
We basically built a seal.
But,
on the positive side,
the green-screen is super
tight, no wrinkles.
Now, everything went
pretty okay.
You take one shot with the green
screen and one empty shot.
But then when we put those two shots together,
we saw a pretty big lighting difference.
And that was because the weather
was changing all the time,
we had to bring it back into our studio.
And, by the way guys, I have
a link in the description below
that goes to a chroma-key kit.
I have some different things in there, from
portable screens, to bigger cloths and all.
And they all link to Adorama,
who we've partnered up with,
because it's not just
any other web shop.
I was really surprised to not only find the big
brands, but also the less popular ones.
They care a lot about their
customers with personal help
on making any purchase choice.
I have experienced that myself
and that I find very valuable.
If you like to check it out and drool
a bit on the gear they have
then make sure to click the first
link in the description below.
So, we are trying to find
the most simplest way
to recreate this effect
inside Premiere Pro.
And that unfortunately comes
with some limitations.
Definitely if you want to jump from
one side over to the other.
So, that's why we are shooting
this whole thing in our studio,
where we have a clean surface,
a concrete surface,
and a clean black wall
in the background.
You can also do this, for
example, on a Beach,
where you have a clean
sand surface,
a clean sea and
a clean sky.
Make sure that there aren't too
much clouds up there.
also no boats in the background.
then it should also work.
However, you can of course
design your set a little bit,
you know, we also have
a motorcycle in the back,
we've got a minion over there,
some plants and a skateboard.
You can definitely go for that.
But make sure that it's not going
to cover your green-screen.
And that is the next thing, so let's have
a look at what we're doing over there.
So, you want to take
two shots.
One empty shot of the space and the
second one with the green-screen.
And that green-screen
sits right here.
And we're going to place
that onto the scene
and your subject, who's going to jump
from one side over to the other,
has to stand exactly
within that cloth.
Now we are aware that such a studio where
you can control the lighting perfectly
it's not accessible
to everyone.
So, that's why we're going to take
a look at a different technique,
which is going to
be done outside.
-Like Jordy said earlier,
it's too hard to do outside
because of the light changes
when using a green-screen.
But, if you keep it simple, you
can do it anyways outside,
because you don't need
an empty shot.
Just use your shot,
duplicate it,
and then bend it.
Simple as that!
Before we'll do the easy way
with throwing a stick,
we're first going to see how to
jump between the two worlds.
In our studio we first took a shot
of the empty space,
and you can already place
this one in your timeline
and make a duplication
of it right away.
Then rotate that duplication
90 degrees.
Under Opacity click on the Pen tool
to draw a mask in an angle.
Pay attention to the perspective
that you're creating right here.
Next up you can reposition the wall
that you've just created, if that is needed.
To cover up the gap you
still have on the left,
duplicate that layer and
remove the mask form it,
because we're going
to create a new one.
This can be a rectangle, which
you'd also need to feather a bunch.
Then move that clip to the left
to cover up the gap.
Now, there's one more thing we have
to do, and that is in the background.
Because of our lighting in the studio,
the mask is quite visible.
So I'm creating a color matte.
Pick the color from the wall in the back
and place it in top of everything.
Then draw a mask
around it and feather it.
You don't always
have to do this
and we'll also show you guys
when you don't, later on.
Then your second shot
goes on top,
add the Ultra Key effect to it
and remove all the green.
For more guidance on how to setup
and pull off the perfect green-key,
you can click in the card
up there.
With the pen tool you then wanna draw
a rough mask around the subject
and if the edge of your
green-screen is visible,
you might need to be more
precise around the legs.
Once you got that in place, head
over to the Mask Path Properties
and enable the animation.
Now you wanna move forward
in time and adjust your mask.
If you didn't have too
close in on the legs,
you can skip multiple
frames and adjust.
But in this case, we need to adjust
our mask frame by frame.
Finally right click on that
clip and choose Nest.
On that nest we'll then apply
the Transform effect
and we're going to create a keyframe
for the position and rotation
just where I start to jump.
Go a little further and rotate
that clip 90 degrees.
And you might also need
to reposition that clip as well.
Important now is that you let
the rotation start a little earlier
than then position animation.
Finally, de-check to use composition's
shutter angle and set one of your own
to get a natural motion blur.
[Pop music level increases]
We've also added some
fake camera movement to it,
which is a free preset pack that you
can download from our website.
Again, link in the
description below.
Then the outside shot
goes exactly the same.
You duplicate, rotate,
draw your mask.
And here the background
does come out better
because of the flatter lighting.
Just make sure to play
around with your mask
so that any tree or bush
comes out well.
-If you want some interaction
between the two shots,
you can easily do this with
some editing tricks.
just make your subject
throw something.
First, let him throw
in front of him,
then let him throw
above him.
In post-production then, you
put your front throw on the bottom,
and the above throw on top.
Do the same handling
as Jordy said,
and you get a seamless
perfect effect.
[Music fades in]
Make sure to subscribe
and join the Tribe
to see us twice a week with more
creative filmmaking tutorials.
Thank you all so much
for watching,
thank you Adorama
for the support today,
and like always:
stay creative!
[Dog barking]
-She's going crazy,
she loves sand.
