how did they do this??

Basically they have made camera tracks based on the images perspective, made mattes around objects so they can be used as independent plates/layers and sometimes added composited and matted layers from other photos and for other instanses made mattes and clean plates from one single shot to make the objects independent of eachother in a composite.



Very nice, though
Thanks for the link!
Would be a Shake or AE gig, I think

Gunleik
 
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It's called compositing, and yes - it can be pretty timeconsuming.

As cool as this looks - I don't think this is the worst - as all plates are stills so you don't have to roto shoots. (Make motionmattes around running people f.ex)

Gunleik
 
Can this be done well in Motion or is it something that requires After Effects or Shake to make it look good?
 
I'd say: eh... not really. But maybe at a later stage.

Look out for the next release. Apple stopped the development of Shake for a reason, and have already implemented some of its tricks into compressor. Motion is the logical place to go.

Have a look at the camera mapping tutorial here:
http://www.peerlessproductions.com/tuts.html

And then image that you composite more layers that the camera can relate to in an xyz perspective.

I think the B&W thing has been done a bit simpler, though (simpler not in the sense of "less worthy" but in the sense of "more effective way to communicate what you want".) - as the idea is not to emulate a filmed sequence.

Gunleik
 
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What if you separated the foreground subjects from the background with Photoshop, enlarged the foreground slightly , imported fg and bg into separate video tracks, and used FCP to track the "camera" at slightly different speeds, giving the effect of perspective.
 
I've done this, it's very popular in event videography, where they do lots of photomontages. You go into Photoshop, lasso out sections, put each on a different layer, save as a PSD file. Take that into FCP and animate each layer for the effect.

Oh, the link you have doesn't work.
 
Yeah, I see that a lot. That's what I thought you were refering to. I cut things out in Photoshop, layer them, then on the so called background layers, I use the clone tool and stuff to fill in the gaps. You can do any axis you want right in FCP. Zooming in and out, or shifting up/down, side to side, it works. I'm sure AE has some tools that may make it faster to do, I guess. But I've done this with nothing but PhotoShop and FCP with really nice results.
 
With PS and FCP, is the "distance" from foreground to background determined only by the relative sizes of f and b? IE, you make the foreground bigger to bring it closer to the camera?
 
powerdog said:
With PS and FCP, is the "distance" from foreground to background determined only by the relative sizes of f and b? IE, you make the foreground bigger to bring it closer to the camera?
Click to expand...

Not really, but it's one factor. It's more about movement than size - - The foreground moves slower than the background.

The pace difference would give the illusion of depth (faster background and slower foreground would give the illusion of more space inbetween, or distance as you put it)
 
Is it my imagination that there's some depth (3-D-ness) to the foreground characters. I don't see how there could be, technically, but they don't really look like flat cut-outs either.
 
I haven't seen the clip posted (it gets timed out every time) but it sounds like something you can do best in a 3D compositing in Combustion. The only problem is, you need to replace the background "behind" the object you lasso out. Then you just move the objects around in 3D space and animate the camera to create the effect.
 
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If you add a slight blur to the background layer, or progressivley to the background layers, it gives that illusion. Remember, in reality, there's not such thing as 3D in video, only the illusion of it. Film/Video is as 2D as paper.

You can move stuff up/down, side to side, and to give depth, zoom layers in and out. I've done it, several times, trust me.
 
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