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Skip to 0 minutes and 45 secondsAction.

Skip to 0 minutes and 59 secondsRight. And another look to your right. And to your left, please. That's good. You just need to watch your-- a little bit of hair there. This might keep it easier.

Skip to 4 minutes and 51 secondsNow if you don't have access to a studio and these safety precautions which we have-- and also the experience in shooting these kind of stop effects-- then there are other places in which you can get these from.

Guerrilla Diaries: Using the Jib

Justin, our director of photography, knew we were working in 3D so he was free to use a camera move for the first time. He chose a vertical move, and used the Jib crane to make a shot that gives you the option to play around with depth and distance in your comp.

In filmmaking, a jib is like a boom mic, but on a see-saw pole, with a camera on one end and a counterweight on the other. Separate monitor and controls allow viewing and remote camera operation. It needs to be used sparingly, but in situations like this where Justin wanted to create parallax and a change in view, it provides us with many creative possibilities that we hope you’ll explore.

Parallax is the difference in the apparent position of an object viewed along two different lines of sight. Put simply, things nearer us seem to move faster as we pass by than things in the distance. An example is the sort of effect you get looking out a train window.

Whereas in 2D layer compositing you might need to estimate how something in the foreground moves in relation to something further back, in 3D compositing it can be almost automatic. The elevation in Justin’s shot gives us something to work with.

As we said, crane shots tend to be used sparingly, usually to establish scenes or say something about the character in their landscape. Can you think of a way you could use this kind of shot in your own work?

Since what you’re doing with this week’s episode is essentially building set extensions, let’s see what the Blaine Brothers have to say on the subject next, and how they’ve used this effect.

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This video is from the free online course:

Visual Effects for Guerrilla Filmmakers

Norwich University of the Arts (NUA)

Get a taste of this course

Find out what this course is like by previewing some of the course steps before you join:

  • Storyboards are only one way to communicate. Lets look at some VFX definitions.
    Visual effects or special effects?

    Like any creative subject it helps to share definitions about what things mean -this can be confusing for newcomers; it'll help us communicate better.

  • Tracking and layers: a gentle start
    Tracking and layers: a gentle start

    HitFilm guru Simon Jones shows us how to build a dramatic shot in HitFilm using layers of stock footage we provide on the course. Enjoy your 'comping'

  • The Blaine Brothers guide to using VFX
    The Blaine Brothers guide to using VFX

    The Blaine Brothers have a positive can-do attitude to VFX, and see it as a tool that should be used in the service of a story, not as decoration.

  • Still from Georges Méliès' "India Rubber Head" (1901)
    A short history of keying

    Keying isnt just a digital invention. From the early days of cinema in the 19th century film makers had used 'mattes' to amaze their audiences.

  • Insider tips on shooting green screen
    Insider tips on shooting green screen

    Justin Hunt, our long suffering director of photography for our HitFilm footage has years of experience of green screen to share with you here.

  • Cab Calloway (1932) Minnie the Moocher
    What is Rotoscoping?

    Rotoscoping is probably the most time-consuming of VFX techniques. It's often a last resort when you can't pull a key. Let's find out more about it.

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