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Raymond O'Neil

Can anyone explain how the hell it was done?

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Would anyone kindly explain how the second clip (called Variable Speed) was done. Was it all post production or something in camera as well? I emailed the site owner, but yet to receive a reply...

 

I am trying to do something similar, where an object in the foreground (a burning cigarette) would burn at its own pace, while a person in background would be in a timelapse, sun passing through the room, etc.

 

Thank you all

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Well as Chris says, I have no idea what you are referring to, but with regards to a cigarette burning at normal pace with a time lapse background that could definitely be done with the cigarett shot against greenscreen, which would be keyed out for the time lapse background. If it can be done in camera I'm not sure how.

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the clip is called Variable Speed. Obviously I am referring to the effect of the variable speed that was done. The guy is in slo mow, the rest is not.

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Could you post a link to the clip or the website?

 

I'm assuming it's available on the web because you mention trying to contact the 'site owner'.

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How sharp was the background? It could have been done with video rear screen projection. There was a long thread with real useful information on CML a few weeks ago discussing its benefits and pitfalls.

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"Variable speed" has too many other meanings (variable speed motors, variable speed video zooms, also sounds like speed ramping) to apply accurately to this effect, it should be "simultaneously differential chronological lapse." Rear projection would probably be the easiest way, but it can also be chroma-keyed or rotoscoped. In something like a music video, it can be done by distorting the duration of the song, having the talent lip-sync to that, and adjusting the footage in post so the lips match the original lyrics.

Edited by David Sweetman

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Guys, I am terribly sorry, I think I forgot to include the link to that web-site.

 

http://rarevision.com/home.php

 

Its the second clip called Variable Speed

 

I think that was just keyed. Notice how the soles of the guy's shoes are black even when they are raised to the sky.

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Thomas Worth, who shot that clip, is a regular poster here. Why not PM him and ask?

 

Actually, he talks about that clip in his Slow Motion tutorial. I think that he shot the footage at 60i, then field doubled it to create 60p. Played back at 24fps you have slow motion. It looks as if there is a split screen somewhere there, perhaps on the street sign, which enables you to treat the two halves of the screen with different motion effects.

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Skip to frame 16 and again 25. See how the cars disappear behind the lamp post. Think it was simply shot in different takes and cropped.

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Looks like it wad done by compositing 2 shots (split screen); you can clearly see where the comp was done... at the light pole vertically. Also you can see a car disappear behind the light pole (cutoff) when it turns right.

Edited by Chuck Toeti

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Looks like it wad done by compositing 2 shots (split screen); you can clearly see where the comp was done... at the light pole vertically. Also you can see a car disappear behind the light pole (cutoff) when it turns right.

 

Hi,

 

That would have done in camera in the 1930's!

 

Stephen

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This one was easy to figure out, there is a scene like this that totally puzzles me, it's from Fallen Angels, Wong Kar Wai, a couple are sitting at a bar, they are in slow-mo, and the background is accelerated... It looks like it's done in camera, but the only way to do this would be to have the talents act very slow... And that's not what they did, you can see it when they are blinking, they are in actual camera slow-mo, maybe 90fps, and the background is maybe 12fps... It's really weird... If anyone knows what sequence I am refering to, please post a link to it...I tried finding it on youtube but could not..

 

C

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This one was easy to figure out, there is a scene like this that totally puzzles me, it's from Fallen Angels, Wong Kar Wai, a couple are sitting at a bar, they are in slow-mo, and the background is accelerated... It looks like it's done in camera, but the only way to do this would be to have the talents act very slow... And that's not what they did, you can see it when they are blinking, they are in actual camera slow-mo, maybe 90fps, and the background is maybe 12fps... It's really weird... If anyone knows what sequence I am refering to, please post a link to it...I tried finding it on youtube but could not..

 

C

 

I don't know the scene but could it be a com posite or a projected background?

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This one was easy to figure out, there is a scene like this that totally puzzles me, it's from Fallen Angels, Wong Kar Wai, a couple are sitting at a bar, they are in slow-mo, and the background is accelerated... It looks like it's done in camera, but the only way to do this would be to have the talents act very slow... And that's not what they did, you can see it when they are blinking, they are in actual camera slow-mo, maybe 90fps, and the background is maybe 12fps... It's really weird... If anyone knows what sequence I am refering to, please post a link to it...I tried finding it on youtube but could not..

 

C

 

Are you talking about the shot where water is sliding down the foreground in the frame? At least that's what it looked like to me. I still have yet to figure that sequence out. If I could meet Chris Doyle (which I might later this year) that's the one question I would ask him.

 

It looked like more of a shutter manipulation than a frame rate.

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Reguardless you need to film twice as much footage and splice it together, but here are some other ways of doing it.

 

1, A Program called Twixtor allows you to change the frame rate of your project in a way which they call (Variable Speed)

 

You can separate the footage by creating a mask around the part that you want to speed up in After Effects. As long as the camera is on a tri-pod, you can do this fairly simplily. Make the mask around your target that you want to slow down, and track his motion to keep the mask on him. Then you can duplicate the footage and play one side faster than the other.

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I happen to know that the shot outside Ralph's was done on nothing more spectacular than a GL1

 

I'm sure Mr. Worth would be pleased to know he's the subject of such attention.

 

Phil

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