It's pretty wild. Most of the work I do is in fact work. I'll say most of the good stuff we see is the result of a heap of labour rather than tricks or clever hacks.
What a fantastic tutorial. I think we have the second coming of Andrew Kramer on our hands. I'd really love to see, if possible, how to make or start making such an elaborate element as the cyber one used in this comp. A lot of the things I'd like to do seem time-prohibitive without using premade stuff, but if there are shortcuts or techniques to make it easier, I'd be all ears!
You're in luck, I'm actually doing weekly live streams over on Behance.net/ECAbrams. And for the next few weeks, every Saturday we're focusing on making just such an element. If you can't tune in live, the streams are archived for all time over there. It's a much more long-form, relaxed thing compared to these tutorials though, giving time to answer questions and get into tangents. It's a good time.
Another great tutorial! Hypothetical question here, if someone were to attempt this with a slow push instead, how would you account for the needed resolution as we blow up the image? I would assume that even 6K video would start to show its limits zooming into a pupil from a shot as "wide" as the starting frame. Without totally constructing the scene in 3D, could you think of a way to somehow hide a transition from a close up shot to a macro one - or maybe some other method I'm not even considering? Thanks again!
Sounds like you also want to start wider and go slower, right? I would actually amend the process and start with a dolly shot into the subject as close as you can. Then a technique like this one takes over at a certain point. A zoom may play as well. You may need to deploy more tracking solutions to make this work, but basically the idea is one thing is going, and then another takes over, then another takes over from there. So long as the handoff can be smoothed and the track is solid no one will notice.
That's a very good point. Where the focal plane "is" in this kind of vfx shot can really hide some stuff, and bring some realism at the same time. If the focal plane is at the glowing elements, and it's deeper in the eye space, certainly the iris should be out of focus.
Great video. Very thorough tutorial. I have a tracking question on a video I am trying to edit. I have a short video scene where a computer screen comes into the scene twice at different times. I am replacing the footage that is already there, not green screen, but I am not sure how to track the scene at different points in the video. If I track the scene in Mocha, I know I make and in and out point on the first time in comes onto frame, but how do I track it the second time. If you know of a video you have or someone else has on doing this, can you link to it please? I know the answer would probably be to long to give in the comments. Thanks in advance.
I would ask why it needs to be one track for both instances and not two tracks. You could pull data for the first instance, then different data for the second instance in the same long take. Two sets of data for two screen layers that are a prcomp of the same screen asset. Alternatively, you might solve the wold to get data about the space rather than data about the screen. Unless the screen is being manipulated relative to the world. Does that make sense?
@@ECAbrams yes and no. I understand making two different tracks, I’m assuming that means two different layers, but I tried that and it doesn’t seem to make a outline of the second time the screen comes in to view, I am probably doing something wrong.I am new to the after affects add mocha. I’d really like to see a video on it if you have one or could make one or know of one on RU-vid. I’ve searched everywhere. Thanks
