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Digital Video! I Didn't Know You Could Do That…™ SYBEX Sample Chapter Digital Video! I Didn't Know You Could Do That…™ Erica Sadun Chapter 9: Making Magic Copyright © 2001 SYBEX Inc., 1151 Marina Village Parkway, Alameda, CA 94501. World rights reserved. No part of this publication may be stored in a retrieval system, transmitted, or reproduced in any way, including but not limited to photocopy, photograph, magnetic or other record, without the prior agreement and written permission of the publisher. ISBN: 0-7821-2970-6 SYBEX and the SYBEX logo are either registered trademarks or trademarks of SYBEX Inc. in the USA and other countries. TRADEMARKS: Sybex has attempted throughout this book to distinguish proprietary trademarks from descriptive terms by following the capitalization style used by the manufacturer. Copyrights and trademarks of all products and services listed or described herein are property of their respective owners and companies. All rules and laws pertaining to said copyrights and trademarks are inferred. This document may contain images, text, trademarks, logos, and/or other material owned by third parties. All rights reserved. Such material may not be copied, distributed, transmitted, or stored without the express, prior, written consent of the owner. The author and publisher have made their best efforts to prepare this book, and the content is based upon final release software whenever possible. Portions of the manuscript may be based upon pre-release versions supplied by software manufacturers. The author and the publisher make no representation or warranties of any kind with regard to the completeness or accuracy of the contents herein and accept no liability of any kind including but not limited to performance, merchantability, fitness for any particular purpose, or any losses or damages of any kind caused or alleged to be caused directly or indirectly from this book. SYBEX Inc. 1151 Marina Village Pkwy. Alameda, CA 94501 USA Phone: 510-523-8233 www.sybex.com 2970ch09.qxd 7/31/01 10:19 AM Page 205 Making Magic 2970ch09.qxd 7/31/01 10:19 AM Page 206 With digital video, the fun shouldn’t stop after you shout, “Cut!” Today’s video-editing suites offer unlimited possibilities. You can introduce some fabulous special effects and add a dash of movie magic to your work. This part is packed with ideas for projects that go beyond the ordinary. And along with reading about the video projects, you can also watch them (and I highly recommend that you do). When you see an icon like the one next to this paragraph, it means that there is a sample video to watch on the accompanying CD-ROM for this book. Here is the list of this part’s videos: Emma the Magician Jail Time! Teleporting Brad The Climb Montage Mirror, Mirror A Special Message Rack Focus! The Conversation Focus to Zoom Making Magic Emma’s Earthquake Wrong Sounds Reverse It! The Box Candle 53 Now You See It, Now You Don’t… Have you ever wished someone would just disappear? Did you watch Samantha blink Darren away in “Bewitched” and wonder if you could do the same? You’re in luck! The power to zap a person to another dimension lies in your hands. NOTE Be aware that people do not actually disappear during special effects. No association with organized crime or infernal powers is assumed or implied. These disappearances are for entertainment only and will not alter deadlines, homework, or unfriendly management in any significant way. Translocation proves to be one of the simplest of all special effects to create with your video-editing software. First, shoot your scene with the subject in 2970ch09.qxd 7/31/01 10:19 AM Page 207 NOW YOU SEE IT, NOW YOU DON’T… 207 place. Next, shoot some more footage after your subject leaves the shot. Splice the footage together in your favorite video editor, and you’re set. Your subject magically disappears. The Basics You need a fixed camera and an unchanging backdrop to set up this scene. You cannot create this effect without a tripod. The challenge is to maintain the same features in the before and after shots. Only your subject will move, and he or she will do so carefully, so as not to disturb the scene. You don’t want to change anything—the lighting, the position of the props, or any other elements. Avoid windows, corridors, or any other surroundings that may introduce change. After all, a cloud may pass by in a window, or a co-worker might walk down a hallway. Steer clear of these hazards to ensure a smooth visual transition. Once you’ve found a good location and are ready to shoot, follow these steps to record your footage: 1. Create your set and place your subject. 2. Work through the beginning sequence until the “disappearance.” When working with a single subject, direct the person to leave the set without disturbance. If working with multiple subjects, cue them to freeze in place while the primary subject leaves. 3. If applicable, cue the remaining subjects to continue their sequence, perhaps incorporating surprise at the disappearance. Otherwise, simply shoot footage of the empty set. 4. Connect your camera to your computer and import the footage. 5. Carefully splice together the “before” and “after” shots. Edit out voice cues, shots of the subject sneaking away, or any other bits that might give away the trick. 6. Play back the footage to ensure that you’ve achieved a smooth transi- tion. Ta da! Instant disappearance. 2970ch09.qxd 7/31/01 10:19 AM Page 208 208 MAKING MAGIC Variations You can adapt the “disappearing act” special effect to create different results: Sudden appearance Instead of having your subject disappear, reverse the effect to have the person arrive instead. Science fiction Add appropriate out-of-this-world sound effects to introduce a space-age feel. Magic trick Switch the focus from people to things. Introduce a magi- cian who can summon and dismiss various props. For example, for a magic show, consider those effects involved in lighting and extinguishing a candle, making a person appear and disappear from a large box, or even summoning a bouquet out of thin air. For this latter effect, ask your subject to maintain his or her position while waving an arm through a set trajectory—first with, and then later without, the bouquet. With luck, you can add the bouquet mid-motion. Of course, you will need a magician who “freezes” well. No matter which variation you choose, keep the basic principles in mind. These tricks depend on introducing a single sudden change into an other- wise stable, continuous shot. Make sure to limit your transition to the magic taking place. Don’t be afraid to reshoot as needed. It may take a few tries until you get everything just right. The next few sections provide specific instructions for some “now you see it… now you don’t” projects that you might want to try. 54 Produce a Magic Show The “Emma the Magician” video (which you can find on this book’s accom- panying CD-ROM) demonstrates the simplest of the appearance/disappear- ance effects. In this sequence, Emma disappears and reappears from in front of a blank wall. Later, a teddy bear appears magically in her box. Because the special effects are so simple, you can easily complete this project with a child. 2970ch09.qxd 7/31/01 10:19 AM Page 209 PRODUCE A MAGIC SHOW 209 Plan the Magic Show This project is very straightforward, requiring no special scenery and little in the way of supplies. You can shoot with your subject in front of a plain, blank wall. Your supplies are simply a box and a stuffed animal (or another toy). Here are the frame sequences in the “Emma the Magician” video: Sequence 1 1 Title card Text says “Emma the Magician will disappear.” 2 Long shot of child Child: “Abracadabra!” 3 Long shot of wall Same as #2, but without subject. 4 Long shot of child Same as #2. Child: “Ta da!” Sequence 2 1 Title card Text says “Emma conjures a bear.” 2 Long shot of child Assistant hands box to child: “Is there anything in the box? Is it empty? Are you sure? Okay! Say ‘Abracadabra.’” Child: “Abracadabra!” 3Long shot of child Child: “It’s Ojo!” (the name of the stuffed animal). holding box with Assistant: “Show me.” Child takes the animal out bear (or other toy) of the box. 4 Close-up of child Child: “Ta da!” Shoot the Footage To create this project, you absolutely must use a tripod. A tripod keeps the camera steady and avoids scenery changes from shot to shot. Just set up the camera and shoot. Other than the last close-up, shoot your footage 2970ch09.qxd 7/31/01 10:19 AM Page 210 210 MAKING MAGIC from a comfortable distance. You don’t need to change any camera settings between shots. Make sure to keep the camera rolling. Don’t stop the camera as the child leaves and reenters the scene for the first sequence, and while you place the toy in the box for the second sequence. You’ll edit the footage later. The only tricky part while shooting this project involves the appearance of the bear in the box. After the child says “Abracadabra,” instruct her to freeze. As long as you pause before speaking, you don’t need to worry about your voice intruding on the video. You’ll be able to remove these voice-overs in editing. As you place the toy, keep talking to the child, instructing, “Stay still! Stay still!” Once you’ve backed out of camera range, restart the dialogue by saying “Hey, kid! What’s in the box?” The child’s response (such as “It’s Ojo!”) will provide an excellent reentry point for your video.
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