Skilled Seeker wrote...
Wow you made Mass Effect 1 look good! Mind telling me how?
Not at all
. So the work flow for this particular project goes a bit like this. I'll try to keep it (relatively
short):
1) The idea.
This pretty much comes out spontaneously, or through your preferred inspiration method. In my case, I just thought about what would it take to put together this:
mixdeluxe.wordpress.com/2010/08/11/groove-function-012-2010-08-11-hudsonhawk/with This:
www.dancetrippin.tv/lib.cfm/9257/DJ_set_episodes_186/Tom_Pooks/And this:
The result is what you see above. Almost three months ago I though "hell why not", and took the next logical steps (which I had to iterate through until I was ready to go into the final editing stage):
2) Drafting:
2.1) Drafting with audio.
I don't know how many of you would be interested on the audio side so I will say that essentially, I picked three songs mixed in HudsonHawk's Groove Function episode, and only spliced the first two together in Ableton Live since the last two were already mixed together.
Next came the sound environment creation. Using Vegas and some stock crowd sounds, I:
- Placed an initial audio channel with the track remixed in Live.
- Added a second channel containing the crowd sounds.
- Added a third channel for mixing Doran's voice, and mine.
All of the channels converge at the master output channel, where I added a classic large hall reverb to create the sensation of ambiance in the final track. Let me know if you'd like me to elaborate on this.
2.2) Drafting with video.
I used Fraps to shoot, started playing HudsonHawk's session, and launched the game trying to shut all of the background music down (you can't make flux's dance floor music go away, but since it's equalized to just rumble in the low frequencies at a moderate volume, it just blends unnoticeably with whatever you happen to play *louder*
).
And why the music while shooting? Well, because I was already sick of hearing the standard flux tune over and over hehee. Too-doo-do-do-ro, to-do-too-tee too-doo-do-do-ro, to-do-too-tee too-doo-do-do-ro, to-do-too-tee... I hate it now
but that's only subjective.
From there, simulating a live camera on the stage was just a matter of bringing up the console and using these commands:
- showhud
- slomo .3 - .7
- toggleflycam
- fov 30
Essentially, the flycam was the most useful since that's essentially what lets you explore *every* single corner and angle of every object and character inside the map. Additionally, solmo allows you to capture footage which packs a ton more frames than if you were just recording stratight 30fps at the logical cost of tons of more disk space. This proved to be a particularly useful attribute while editing in After Effects.
2.1) Drafting with Vegas.
Once I had some interesting pieces of footage work with, I used the track created at stage 2.2 and randomly placed the shots, freezing the position of those that looked interesting to further develop. The key point at this stage was to identify "Milestone Shots" which would serve as the main point of interest in the video. For Example:
- The DJ's initial announcement.
- The very first shot of a female human dancing with an asari partner.
- Liara's initial face closeup shot.
- A Salarian's first eye closeup shot.
Think about these and other shots as "The landmarks to which I need to arrive to by any means possible". Or well, that's at least what *worked for me*. Consequentially, the rest of the shots are there to support the aforementioned set.
3) Jumping into After Effects.
After the main skeleton of the video was ready, I started placing the milestone shots into AE, and then picked up, discarded some, and re shot some of the supporting footage. This is essentially what integrated the core structure of the shot sequence inside AE.
It is inside After Effect where the following important activities occurred:
- Beat synching of the shots with AE's TimeWarp plug in.
- Adding support effects such as fast and lens blurring.
- Color correction of the shots using Synthetic Aperture's Color Finesse.
4) Encoding.
After the master video stripe was rendered (it took close to 35 hours on an i5 thanks to AE's timewarp plug in... not pretty
), I then encoded that with MeGUI and x264. There are the x264 options if anyone's interested.
program --tune film --pass 3 --bitrate 4997 --stats ".stats" --deblock 0:0 --b-adapt 2 --ref 7 --rc-lookahead 60 --merange 24 --subme 9 --partitions all --trellis 2 --output "output" "input"
Finally, bear in mind that, from these four stages, I spent the majority of those 3 months going over 2.2 to 3, rethinking, reediting, re shooting, and remixing those parts I wasn't satisfied with. This can drive one crazy at times, but think the result was pretty much well worth the effort.
I could go on rambling and rambling about a technique or tool, but I guess I'll stop here.
I might as well write a tutorial or something. Let me know if anyone's interested. In the meantime, check out the FilmMakers Group, where I'm posting more theory and technical bits.
I thank you again for your time and feedback.
ds
Modifié par datSilencer, 13 novembre 2010 - 08:27 .
). The original source file is encoded at 5000kbps.
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