CAMERA ROTATION TRANSITION in Premiere Pro (Atlanta series)

So, today I’ve been sick. But the show must go on.
Copy Cat Friday must go on, because we’ve been working
on something pretty amazing! [Cinecom’s Intro music] It’s Jordy here for
and let’s start with a big thank you… …to Yannick and Lorenzo who have been
shooting and editing this entire project. I’m only doing this part right here,
because I’ve been pretty darn sick. Today we’ll be recreating
the trailer of Atlanta season 2. Honestly I haven’t seen the series
yet, but from what I’ve read online… …I should start watching
this immediately. In the trailer you see these
amazing transitions… …where the camera rolls into
and back out of the ground. That alone is not so hard, we actually
did a video about that a while back. But what makes this so interesting
is that we also have a person… …rolling with the camera. This makes it a lot more
complex and… …we’ve been looking for the
easiest way to recreate this. -Lorenzo… …What’s that groovy music? -Oh yeah! Ooh, let’s dance! While I’m sitting here at home, Yannick and
Lorenzo can dance to the awesome music… …that Premiumbeat have
provided to us. It’s a music library where you can
find premium songs and loop sets… …for any commercial project. You can even use one song
in multiple projects… …without having to purchase it again. Now, Premiumbeat have put up
a special playlist for this episode, which you can find by clicking on
the first link in the description below. [Music level increases] -On the show they did the effect
with a green-screen. So, that’s why we are gonna
use a green-screen. We already built one, and the important thing with a green-screen
is that you have two lighting zones. One for your green-screen,
as you can see, and one lighting zone
for your subject. And that’s because we don’t wanna
cast shadows on the green-screen. But the lighting for your subject
is also really important, because you gotta match it
with your background. The background is then
shot elsewhere. Yannick and Lorenzo just drove around
looking for interesting spots. It would be better if the sun
would shine, but… …the weather was unfortunately
pretty bad. Now, you wanna find a way to
rotate your camera here. We first tried with with a monopod,
but that didn’t came out right. The camera was shaking
too much, we needed two legs to
rotate the camera on. So we used our MeVideo tripod, which allowes us to
detach one leg. But you can also find other ways
to only extend… …two of the three legs
of any tripod. This was a lot better and allowed us
to move the camera in a perfect arch. Every shot had to be empty and
you can already shoot it out of focus, because we’ll have the subject
stand closer to the lens. Now if you forgot about this,
then no worries, you can always add some
blurriness in post-production. What we did do was also make a shot of
our subject standing in that same frame. We’ll not use this, but it’s
a good reference to see… …how the lighting should be
recreated in the studio. -So, we did our location shots. Let’s go back to the studio! Your talent can sit on his knees,
as we’ll be making a medium shot. And that will make it easier for Lorenzo to
lay down, come up and fall back down. The lighting does have
to change here, so what Yannick did was holding
an extended light above Lorenzo. As Lorenzo makes his movement, Yannick
would walk with the light over him. So instead of moving the camera,
we moved the light, giving the same impression. Most of the shots where pretty
flat because of the bad weather, so for those clips we added a soft
dome to our Stella light. The night background had
a street light on top. So there we could attach a Fresnel
mount to the picture… …and added an orange filter
to it to mimic that street light. -Without Jordy here I’m
feeling quite blues. But with this Premiumbeat playlist
I’m feeling quite funky! [Music sounds through cellphone speakers] This Premiumbeat playlist
is specially made for this video. You can choose out of ten soulful songs
to funk up your video. Never miss a beat with
Premiumbeat. The post-production process
is fairly simple. You can already put your
background on the bottom… …and the green-screen
shot on top of that. First you wanna mask out
your subject… …and remove the green using
the Ultra Key effect. Now you can try to match the movement
of your subject to the background. And you might wanna enable
Time remapping for that clip… …to speed up the first
and last parts. This could take some time to
re-adjust until you got it right. When your subject lays close to
the ground there should be a shadow. One way to create that is by
adding a new Black Color Matte… …underneath your subject clip. Draw a mask in the shape of a person
around it and feather it a bunch. You also wanna lower the opacity
so that the shadow is subtle. Next I would move the anchor
point to the bottom, and this will make sure that the rotation
of that clip goes around that axis. Animate the rotation so that the
shadow stays on the same position. Make sure you add a cross dissolve
on the end of the shadow clip. Then do the same thing for
when your subject in landing, and here you wanna
fade the shadow clip in. Finally you can also animate the exposure
of your subject through the Lumetri effect. When your subject is
closer to the ground, he can be a little darker than
when he’s standing up. [Funky music] Now I’m gonna jump back in bed
to heal up for next Tuesday. Thank you guys so much
for watching, thank you Premiumbeat
for the support, and to Yannick and Lorenzo: You guys did a pretty darn
creative good job! -Jordy is sick and I’m
the new boss now. Let’s make some new rules. Lorenzo! Start working! Faster! Move the elevating truck! Work! Work faster! You’re fired, Lorenzo! -I don’t even work here! Go home!

100 thoughts on “CAMERA ROTATION TRANSITION in Premiere Pro (Atlanta series)

  1. If you watch ForKingAndCountry's newest music video, they did this trick but without green screen. Rather they made a wooden camera rig that you can rest the camera on and have it fall while the actor falls with it then lands on a mattress.

    Heres a link to the music video:

  2. Unlike and unsub. Where's Stay creative!? I was really hoping it'd never end, and here it comes. I'm so depressed right now…

  3. The only thing a little bit off is with the Atlanta promo Glover always stays in the centre of the screen. Because the camera doesn't move in this version the subject moves around the screen and the effect doesn't seem as smooth. If you were to rotate the subject artificially in post would that make it better?

  4. Any reason you couldn't just shoot stationary on a tripod at a higher resolution than your delivery, and then just rotate the clip in post?

  5. Hello I shoot music video and I was wondering if you guys could explain how do that background that Lil Pump – "Butterfly Doors" (Official Music Video) thank I hope for a answer

  6. Parabéns por colocar as legendas, pois seus conteúdos são muito bom e como sou brasileiro ajuda muito. Continuem colocando legendas em português!

  7. Alright so here’s what was really done.

    Donald Glover actually fell in each shot. In order to have him start on the ground and move upwards, they reversed footage of him falling. They had him standing in the same location and had him fall the other direction. They used whatever technique to blend the footage, so that it would look seamless. For both clips, the camera was dropped to follow Glover, and was then edited as a tracking shot so that it would be stabilized.

  8. I’m know I’m late but I’m going to help all of you.

    I actually worked on this promo…the camera was attached on a speed rail and we dropped the camera side to side several times while Donald dropped on a stunt bag. No green screen used at all!

  9. Well done copycat team,, I appreciate ur creative work which is useful for flim makers like me,, once again I thank ucopycat

  10. You can do the Alanta transition all in camera no green screen needed check out the video from Make Art Now titled Alanta Transition still a good video

  11. Another great one guys. Could've worked to bring your talent to the location and greenscreen it there, not needing to reenact the light on the subject in the studio.

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