@@InCameraTV : I just ran across you chaps here. This is excellent stuff. Both of you are very likable to listen to and to watch... and your enthusiasm is very infectious. Keep it up. I really admire what you are doing! It is interesting: Dennis Muren always said that for many of the shots they did in the original *Star Wars*, they could have gotten away with shooting ships exactly as you guys have done here. Muren said that they really didn't need to use the Dykstraflex for abdolutely everything that they did. That decision was ultimately made by John Dykstra himself, so that is what they ended up doing. However, I think your work here proves Dennis was right all along. AND... it is astounding just how perfectly your paper Tie fighter looks like the original models when photographed ! Kudos to everyone involved ! Cheers!
I'm giggling like a complete lunatic, this is so good! I think I spotted a cropped TIE Fighter on the left of the frame and my OCD kicked in, but apart from me being a nitpicky buzzkill, your channel is like a breath of fresh air, I'm watching it grow day by day and you totally deserve it!
This may be one of the most entertaining film videos I’ve ever watched. The dialogue between you two mixes with the fantastic visuals and BTS shots to create an incredible product!
Sorry, but not for me. I'd much rather it show the screen and step through how each step was accomplished. They showed how they created the matte. But next there were three spaceships, and all it pretty much showed was the two of them talking. Guess I didn't find the chatting as interesting.
I've been model-making for a few years now (kit-bashing pre-made models into different sorts of original vessels and such). These tutorials you've posted have been an invaluable resource for me to learn how to photograph and record action shots using my rather limited, consumer-grade equipment. I've been able to put together some amazing shots in just the last few hours using your tips. Thanks so much!
I also heard the reason they moved the camera, is because the camera equipment is very heavy and not as prone to minimal movements as the models were. Back in the day they might put a model on wires, and it would shake and what not, and not very stable, so it would break the illusion and look cheap. So by moving the camera, any shudder or jitters are effectively removed.
What ILM did back in 75/76 was truly ground breaking. What they filmed in motion control that really worked was the speed of the cameras photographing the models using motion control and the frame rate that the cameras were running at. These 2 factors combined caused motion blur on the prints that were combined in the optical printer, making the motion so much more realistic in the finished frames. John Dykstra was a genius.
I’ve always been curious about how precise the background movements were in the OT. The fact that it’s just these basic moves is fantastic. Another great week.
I feel a little sad about how jaded about technology I've become. I remember seeing a "making of" documentary about Star Wars in 1977 and the next day everyone at school was talking about it. Computer controlled cameras! Computer controlled! It was before home computers, calculators and digital watches were the height of cool. The idea of any sort of computers evoked an immediate sensawunda. I was 11 years old. Nowadays, nitpicking away at CGI, using a computer to relay our unmissable critiques to the world, where's the wonder gone? This is what age does. After all when I was a kid, radios were nothing special, but older folks remembered when wireless was magical and the Golden Age Of Radio and all that. But does any technology now impress children?
What i hate so much about CGI and for the history of movies themselves is the fact that nothing REALLY exists in 3d space. It only exists in a computer. There is nothing to physically see. There is nothing to tangibly touch. Nothing to end up in the Smithsonian. Like the Mother Ship from Close Encounters etc. No cool model to wind up in some FX guys garage 40 years later. It might be virtually cool. But it is not actually cool. I don't want to look at some model on a computer screen. I want to SEE it.
That Mike Verta restoration series is incredible. Every few months I keep checking back to see if he's uploaded another one - and apparently I've been doing that for 6 years...
Totally agree!...yes, all of the examples of backgrounds and lasers were extremely rushed and to be honest a bit crappy. Hopefully this episode serves enough to show that it could be taken far further and with much better results than I had limited time to do. It’s worth mentioning that most of our episodes that are this involved (2 parts) we try to cover as much as we can about the whole process, rather than a polished end shot or sequence. Our main goal with things like this is to inspire others to do way better than us! Cheers :)
Just a trivia fact: If you were in Bristol, the shadows would actully be different lengths than in London, because of the curvature of the Earth. That is, in part, how early astronomers proved the Earth was round.
Nothing trivial in what you correctly said, Eratosthenes demonstrated this fact with Alexandria and Cyrene. I wonder if Eratosthenes could pronounce the word homage correctly without making it sound like a fictitious French cheese?, being a highly educated polymath he probably did.
For the Death Star battles, George Lucas and ILM had studied WWII dog fight footage and recreated many of those shots with their miniatures. You're correct in that many of those quick effects shots don't hold up that well under scrutiny, but when mixed with the live action scenes in rapid quick cut editing, created a wonderful action packed scene that had never been done before in movie science fiction.
Thoroughly enjoyable. Interestingly it does highlight how the eye can pick up perspective and geometry that’s not quite right easily. Anyway I’m tempted to try something like this.
So very well explained, just enough technical info along with large helpings of enthusiasm. I could watch these 'how it's done' all day long. Subbed and keep up the great channel.
the flat 360 degree background stars rotation only works in the shot of jumping to hyperspace, elsewhere it looks too fake even for an impressionistic attempt... while some ships here seemed a bit 'floaty', real life scale models have some kind of visual "warmth" over CGI, but very high quality digital models are endlessly editable... Lucas pulled off a miracle, given that after he returned to see what his space battle team had done, it was all unusable and he had to start from scratch while racing all the way to theatrical release... btw, I would encourage fans of practical effects to watch the Lovecraftian horror movie 'the Void', it also has a 'making of' documentary on UA-cam
It occurred to me that with it being common knowledge that war movie dog fight footage was used extensively as reference material that perhaps they also made their star fields do what the back ground clouds where doing in the reference material. It is completely wrong in terms of parallax distance effect, but perhaps it was soon apparent that a lot of the excitement of the reference material was lost without doing it. I remember that the movie Mortal Engines with its giant cities on wheel rolling across the landscape also suffered problems, in this case with using realistic speeds that due to their size chase scenes looked like snails pace if shown at distance. They needed to crank the speeds up to silly amounts for it to look engaging. It is interesting to watch the movie Battle of Britain to see how much was taken from it in Star Wars. With Freddie Young in charge of visuals it is little wonder it was followed closely. Even the dialog "Red leader" comes from this 1969 movie. You can't do a space craft battle without being accused of ripping off Star Wars these days, but you need to look further back for the true originators of how to do it.
I tried to do this at college and failed miserably! I applaud you guys for how good this looks. I beg you to make a short film or dog fight using these techniques
I remember in 2010 having to break down and use AfterEffects CS4 to get the starfield to move right in the background behind my jedi training remote on the moon, I was able to use Sony Vegas Pro 9 for everything else, lightsabers, blaster bolts, keys, rotoscoping the jedi remote right out of A New Hope, etc.
Again great vid however being a carpenter I’ve acquired a laser eye for detail upon which I noticed the Ties laser burst would of blown up some debris in front of it as the trajectory of the laser being slightly out, just saying😊
that's awesome.. I want to try it myself.. I'm in the process of setting up a better equipped stopmotion studio space with Green / Blue screen etc.. thanks guys.. enjoyable...
The only thing about their version of the TIE Fighter firing it's weapons is that they only lit the underside of the fighter instead of the front lower quarter of the ship where the weapons actually are because beams of light are just that, beams of light that shed light EVERYWHERE, even their origin point. The fall-off would've been an extra step in the process I know, but just having the light on the front of the ship instead of just the bottom would've made it a bit more believable.
Wow, a surprise to be sure, but a welcome one! Loved how this was a dialogue rather than a simple tutorial on how to recreate this in a piece of software; there's a reason to the madness, and you did a good job explaining it. Bookmarking 8:07, 11:57 and 12:57 for future use 😉
So wait a minute!!! The blonde dude blows up the big, round, grey moon/planet thing? You didn't give any spoiler warnings, my life may never be the same now that I know the ending. Sheesh. Haha, great work guys!!!!!!
@@InCameraTV Your next vid could demo in camera screen burn-ins (adding yourself into the cockpit), 2001 used them as one example off the top of my head. My best books are the two ILM bibles, one all analogue and one digital films. Amazing how many people starting out don't know where it all comes from.
great programme, but when you duplicate the tie fighter and flip, the lighting is also reversed , it would need its own light from the same source to make it right... however I still love the tips.
Great work chaps! Love the detail of the star movements. When are you doing the Back to the Future fire trails with disappearing car and swirling number plate?
I never thought about those stars in the background before. Kubrick used white paint flicked on with a toothbrush for 2001. Star Trek 2 used a planetarium to do their star fields. But those were mostly static. I didn't notice them whipping around in Star Wars.
@@cheeseskreist5654 No, I didn't. I'm mostly concentrated on the foreground models. I would also say that another influence is me reading about 2001 A Space Odyssey and TOS Star Trek. And how they did their star work. They mostly worked with static star fields. They were darn happy to get that much done. Although, Star Trek knew the direction that things were going. First, they tried black paper with little holes in it. It did look good but not very exciting. Did they create a second field with random Stars that would move with the action. THAT was the one that used on the series.
@@actioncom2748 Most of the starfields are doing a linear drift in 2001, a few are locked off. Star trek famously used multiplaned star fields done using slightly offset double exposures of stars.
It all depends what you're putting in front of it! If you're shooting something green, use blue, and vice versa. Green isn't great for skin tone which may effect your decision. Hope that helps!
We do use Nuke (and love it). But since we are trying to explain the process of basic compositing to a fairly broad audience, AE is the most requested software to be shown. As soon as we get onto the subject of compositing shots that benefit from a more advanced toolset, we will surely feature on Nuke - JP
I admire your cinematography, it's fantastic, however there are two universal rules regarding a mustache: 1 You must be Tom Selleck. 2 You can only be Tom Selleck. Everything else is just verging on being illegal for many shady connotation reasons, mostly because is is just not done. Allowances are made for being a 1914 - 18 British Army Officer but you need not apply for that, as you don't have the body girth to take a bullet and survive. You are a great budget DOP team though, so do continue. Very entertaining and informative.
no offense but one dude did it better. ua-cam.com/video/N4qwZt-pmHA/v-deo.html I think the problem amount to the model having too much light on it and weird jerky unnatural moves. The ships were actually very static and barely moved and if they did it was slow as snail pace in the original movie. The shooting camera actually gave the motion back then, at least in the original movie for many of the shots. The ships are too clear and also it looks video and not film quality but i would have most likely done the same thing. Good effort! If you try this again, i would try with less lights and try to maGuiver a camera system that can do the banks instead of the models themselves.... I think it was all in the camera. Not the ships themselves.
@@InCameraTV you should show more of the shots while you’re talking. We don’t need to see that much of you two talking. We can hear you. I’m sure you’ll get it dialed in 👍🏻
This channel is so underrated
It just started. It'll pick up more subscribers for sure. Great production quality and fun subject matter.
Thanks guys, we are indeed in our infancy, feel free to spread the word 😁
@@InCameraTV : I just ran across you chaps here. This is excellent stuff. Both of you are very likable to listen to and to watch... and your enthusiasm is very infectious. Keep it up. I really admire what you are doing!
It is interesting: Dennis Muren always said that for many of the shots they did in the original *Star Wars*, they could have gotten away with shooting ships exactly as you guys have done here. Muren said that they really didn't need to use the Dykstraflex for abdolutely everything that they did. That decision was ultimately made by John Dykstra himself, so that is what they ended up doing.
However, I think your work here proves Dennis was right all along. AND... it is astounding just how perfectly your paper Tie fighter looks like the original models when photographed ! Kudos to everyone involved !
Cheers!
I'm giggling like a complete lunatic, this is so good! I think I spotted a cropped TIE Fighter on the left of the frame and my OCD kicked in, but apart from me being a nitpicky buzzkill, your channel is like a breath of fresh air, I'm watching it grow day by day and you totally deserve it!
This may be one of the most entertaining film videos I’ve ever watched. The dialogue between you two mixes with the fantastic visuals and BTS shots to create an incredible product!
Wow, thank you for the comment Jayce! We're glad you're enjoying the content!
Sorry, but not for me. I'd much rather it show the screen and step through how each step was accomplished. They showed how they created the matte. But next there were three spaceships, and all it pretty much showed was the two of them talking. Guess I didn't find the chatting as interesting.
I've been model-making for a few years now (kit-bashing pre-made models into different sorts of original vessels and such). These tutorials you've posted have been an invaluable resource for me to learn how to photograph and record action shots using my rather limited, consumer-grade equipment. I've been able to put together some amazing shots in just the last few hours using your tips. Thanks so much!
Tips and tricks. My respects!
I also heard the reason they moved the camera, is because the camera equipment is very heavy and not as prone to minimal movements as the models were. Back in the day they might put a model on wires, and it would shake and what not, and not very stable, so it would break the illusion and look cheap. So by moving the camera, any shudder or jitters are effectively removed.
What ILM did back in 75/76 was truly ground breaking. What they filmed in motion control that really worked was the speed of the cameras photographing the models using motion control and the frame rate that the cameras were running at. These 2 factors combined caused motion blur on the prints that were combined in the optical printer, making the motion so much more realistic in the finished frames. John Dykstra was a genius.
The knowledge the both of you bring, film schools don't cover. Please keep up the great work.
I’ve always been curious about how precise the background movements were in the OT. The fact that it’s just these basic moves is fantastic. Another great week.
The background moves thing amazed me.
Not just basic moves. The stars in the starfields are animated.
ILM did some incridible work!
I feel a little sad about how jaded about technology I've become. I remember seeing a "making of" documentary about Star Wars in 1977 and the next day everyone at school was talking about it. Computer controlled cameras! Computer controlled! It was before home computers, calculators and digital watches were the height of cool. The idea of any sort of computers evoked an immediate sensawunda. I was 11 years old.
Nowadays, nitpicking away at CGI, using a computer to relay our unmissable critiques to the world, where's the wonder gone? This is what age does. After all when I was a kid, radios were nothing special, but older folks remembered when wireless was magical and the Golden Age Of Radio and all that. But does any technology now impress children?
What i hate so much about CGI and for the history of movies themselves is the fact that nothing REALLY exists in 3d space. It only exists in a computer. There is nothing to physically see. There is nothing to tangibly touch. Nothing to end up in the Smithsonian. Like the Mother Ship from Close Encounters etc. No cool model to wind up in some FX guys garage 40 years later. It might be virtually cool. But it is not actually cool. I don't want to look at some model on a computer screen. I want to SEE it.
"Stylistically designed to be that way"
where have I heard that before lol, great George Lucas quote from Phantom Menace.
I'm so glad Dr. Strange landed on his feet after defeating Thanos.
Cheeky Nathaniel. Cheeeeky. 🤭
hehehhe
He does look a little like Finnistitch Thundersnatch doesn't he?
The moving starfield is super interesting. I did wonder what it was about Star Wars flybys that were just a little off from usual 3D animation
Evil Bendersnatch Cumberbun is my homeboy. I'm sitting here with my Klingon Battlecruiser wishing I had these skills.
This channel is going to be huge. I appreciate the help.
We're glad to help! Thanks for the support!
Wow! It's Dan Stevens.
A good change from the vfx-focused corridor crew channel.
Thank you! Gotta keep the art of practical effects alive!
That Mike Verta restoration series is incredible. Every few months I keep checking back to see if he's uploaded another one - and apparently I've been doing that for 6 years...
Really nice shots. One note: the laser blasts at 16:55 need perspective, they need to be larger diameter up closer to the camera. They look wonky.
Totally agree!...yes, all of the examples of backgrounds and lasers were extremely rushed and to be honest a bit crappy. Hopefully this episode serves enough to show that it could be taken far further and with much better results than I had limited time to do. It’s worth mentioning that most of our episodes that are this involved (2 parts) we try to cover as much as we can about the whole process, rather than a polished end shot or sequence. Our main goal with things like this is to inspire others to do way better than us! Cheers :)
Just a trivia fact: If you were in Bristol, the shadows would actully be different lengths than in London, because of the curvature of the Earth. That is, in part, how early astronomers proved the Earth was round.
Nothing trivial in what you correctly said, Eratosthenes demonstrated this fact with Alexandria and Cyrene. I wonder if Eratosthenes could pronounce the word homage correctly without making it sound like a fictitious French cheese?, being a highly educated polymath he probably did.
For the Death Star battles, George Lucas and ILM had studied WWII dog fight footage and recreated many of those shots with their miniatures. You're correct in that many of those quick effects shots don't hold up that well under scrutiny, but when mixed with the live action scenes in rapid quick cut editing, created a wonderful action packed scene that had never been done before in movie science fiction.
4:25 yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah
When he's right, he's right!
everybody wants to film his own Trenchrun! Good work, Guys.
Thank you!
I just found this channel I love all the tips and tricks I’m seeing. Wonderful✅
Thoroughly enjoyable. Interestingly it does highlight how the eye can pick up perspective and geometry that’s not quite right easily.
Anyway I’m tempted to try something like this.
The highlight of my week! Great video again!
"How many client shoots you got booked in this week?"
"None because covid."
"Let's make a youtube channel about film effects..."
Great job guys!
😏
Ooh! Recreating the practical effects in Titanic would be so cool and fun!
Is not that strange for Dr. Strange to do the InCamera magic... Great work guys!!
So very well explained, just enough technical info along with large helpings of enthusiasm. I could watch these 'how it's done' all day long. Subbed and keep up the great channel.
Thanks Jay, glad you're liking the videos! That's the plan really, keep them educational and entertaining!
the flat 360 degree background stars rotation only works in the shot of jumping to hyperspace, elsewhere it looks too fake even for an impressionistic attempt... while some ships here seemed a bit 'floaty', real life scale models have some kind of visual "warmth" over CGI, but very high quality digital models are endlessly editable... Lucas pulled off a miracle, given that after he returned to see what his space battle team had done, it was all unusable and he had to start from scratch while racing all the way to theatrical release... btw, I would encourage fans of practical effects to watch the Lovecraftian horror movie 'the Void', it also has a 'making of' documentary on UA-cam
It occurred to me that with it being common knowledge that war movie dog fight footage was used extensively as reference material that perhaps they also made their star fields do what the back ground clouds where doing in the reference material. It is completely wrong in terms of parallax distance effect, but perhaps it was soon apparent that a lot of the excitement of the reference material was lost without doing it.
I remember that the movie Mortal Engines with its giant cities on wheel rolling across the landscape also suffered problems, in this case with using realistic speeds that due to their size chase scenes looked like snails pace if shown at distance. They needed to crank the speeds up to silly amounts for it to look engaging.
It is interesting to watch the movie Battle of Britain to see how much was taken from it in Star Wars. With Freddie Young in charge of visuals it is little wonder it was followed closely.
Even the dialog "Red leader" comes from this 1969 movie.
You can't do a space craft battle without being accused of ripping off Star Wars these days, but you need to look further back for the true originators of how to do it.
This is the way.
Glory to the Empire
I can't believe this channel only has (at the moment) 7.68k subscribers. Definitely primed to blow up, excellent content!
I tried to do this at college and failed miserably! I applaud you guys for how good this looks. I beg you to make a short film or dog fight using these techniques
Thanks to the algorithm for the recomendation!!!
I remember in 2010 having to break down and use AfterEffects CS4 to get the starfield to move right in the background behind my jedi training remote on the moon, I was able to use Sony Vegas Pro 9 for everything else, lightsabers, blaster bolts, keys, rotoscoping the jedi remote right out of A New Hope, etc.
Again great vid however being a carpenter I’ve acquired a laser eye for detail upon which I noticed the Ties laser burst would of blown up some debris in front of it as the trajectory of the laser being slightly out, just saying😊
I didn't know cumberbatch was so enthusiastic about spfx
that's awesome.. I want to try it myself.. I'm in the process of setting up a better equipped stopmotion studio space with Green / Blue screen etc..
thanks guys.. enjoyable...
Good luck if you do try it yourself! Hope you liked the episode!
The only thing about their version of the TIE Fighter firing it's weapons is that they only lit the underside of the fighter instead of the front lower quarter of the ship where the weapons actually are because beams of light are just that, beams of light that shed light EVERYWHERE, even their origin point. The fall-off would've been an extra step in the process I know, but just having the light on the front of the ship instead of just the bottom would've made it a bit more believable.
Really lovely to be in the suite with you guys on this. Except while on a train...
Wow, a surprise to be sure, but a welcome one! Loved how this was a dialogue rather than a simple tutorial on how to recreate this in a piece of software; there's a reason to the madness, and you did a good job explaining it. Bookmarking 8:07, 11:57 and 12:57 for future use 😉
Thanks Michael! We figured there were enough software tutorials out there 😉
Fantastic episode! Thank you
Have you thought about doing the opening scroll to star wars?
Love it! I make VXF and learned so much. Subbed.
Thanks Zac!
The space battle in return of the Jedi is like 6 mins of model mayhem.
Loving this new channel! Very inspiring stuff!
Beautiful! Give us more guys!
Thank you! There's a lot more to come from us!
Just a little clarifyer, In 3d I can spin a space HDRI to create that effect :)
good work.
Amazing quality of content, loved every minute of it!
Really enjoying these vids. Thank you.
Loved this. Thank you
No no, thank you!
Are these sequences finished with music and sound effects? Would love to see that.
So wait a minute!!!
The blonde dude blows up the big, round, grey moon/planet thing?
You didn't give any spoiler warnings, my life may never be the same now that I know the ending. Sheesh.
Haha, great work guys!!!!!!
I love your videos
What is the name of the motion control motor you used for rotation? I'm looking to replicate this! Very inspiring, thanks!
That dude has skillz
Great tutorial - who built the Tie?
You can still see the garbage mattes on some Falcon shots in EP4 on the old VHS versions, big chunky mattes painted by hand.
Of all the practical techniques, optical compositing is one we do not lament! When it comes to post production, digital wins ;)
@@InCameraTV Your next vid could demo in camera screen burn-ins (adding yourself into the cockpit), 2001 used them as one example off the top of my head. My best books are the two ILM bibles, one all analogue and one digital films. Amazing how many people starting out don't know where it all comes from.
great programme, but when you duplicate the tie fighter and flip, the lighting is also reversed , it would need its own light from the same source to make it right... however I still love the tips.
Great stuff
I was a subscriber before they hit 1 million subs :)
It's a long way to go but fingers crossed!
But they only have-… ooooh
@@NikHem343 LOL Had bout the same thought process.
"but they only have x subs?!?!"
"Eeek, what happened to all their subs!"
"Oh you sneaky lil..."
LOL
Is the a model of the School Book Depository?
Can you do one for compositing an AT-AT walker?
Oh we definitely want to dip our feet in more Star Wars in the future...!
Awesome
So early that the video is 360p only 😎
Stupid UHD! Come back later for added sweetness!
Great work chaps! Love the detail of the star movements.
When are you doing the Back to the Future fire trails with disappearing car and swirling number plate?
In time.
Awesome!
Subscribed yesterday. Tip: Make a second channel, with editing tips, and call it OffCamera :)
Edit: put some BTS there also
We're sticking to the one channel, but we've got some smaller scale table-top & BTS videos lined up for the future!
Where did you get the star fields?
I never thought about those stars in the background before. Kubrick used white paint flicked on with a toothbrush for 2001. Star Trek 2 used a planetarium to do their star fields.
But those were mostly static. I didn't notice them whipping around in Star Wars.
We used a NASA image 😎
Didn't notice them whipping around in Starwars, really?
@@cheeseskreist5654 No, I didn't.
I'm mostly concentrated on the foreground models.
I would also say that another influence is me reading about 2001 A Space Odyssey and TOS Star Trek. And how they did their star work. They mostly worked with static star fields. They were darn happy to get that much done.
Although, Star Trek knew the direction that things were going. First, they tried black paper with little holes in it. It did look good but not very exciting. Did they create a second field with random Stars that would move with the action. THAT was the one that used on the series.
@@actioncom2748 Most of the starfields are doing a linear drift in 2001, a few are locked off. Star trek famously used multiplaned star fields done using slightly offset double exposures of stars.
Epic channel!
Thank you!
Weird that your using Adobe which was basically invented for Star Wars in the first place almost 45 year ago!
How does this channel only have 10k subs???
Thanks! Onwards and upwards!
@@InCameraTV If you guys put stuff out a little more consistently you'll be at 100k in 3 months, I guarantee it.
Lucas actualy watched tons of real footage from WW2 dogfights and implemented it in real film.
Splendido
Is blue screen better than green and if so, why? Cheers lads (I’m about to buy a screen and not sure what colour to get).
It all depends what you're putting in front of it! If you're shooting something green, use blue, and vice versa. Green isn't great for skin tone which may effect your decision. Hope that helps!
@@InCameraTV thank you : )
I ended up buying one with green one one side, blue the other. Happy days.
Glory to the Empire!
4:57 Princess Layer
Im getting a Feyd Rautha feel from you dude. Not sting.....Feyd. ;-)
Is this show just for humans or are Otherkin allowed to watch too. Just asking...for a friend.
Great stuff!
What about using proper software to composite like Nuke
We do use Nuke (and love it). But since we are trying to explain the process of basic compositing to a fairly broad audience, AE is the most requested software to be shown. As soon as we get onto the subject of compositing shots that benefit from a more advanced toolset, we will surely feature on Nuke - JP
@@jp-incamera That's awesome. Thanks.
What program is it free?
I admire your cinematography, it's fantastic, however there are two universal rules regarding a mustache: 1 You must be Tom Selleck. 2 You can only be Tom Selleck. Everything else is just verging on being illegal for many shady connotation reasons, mostly because is is just not done. Allowances are made for being a 1914 - 18 British Army Officer but you need not apply for that, as you don't have the body girth to take a bullet and survive. You are a great budget DOP team though, so do continue. Very entertaining and informative.
Haha thanks Dane; glad you liked the video!
Hi guys, do you have a patreon?
Not yet!
Looks like Benedict Cumberbatch
If I don't see a compted tie fighter shot with a comical extreme roll, I'm going to be very disappointed.
Are you related or brother of Benedict Cumberbatch?
The edit made this film....Thanks to george's wife.. george never had a clue at first.
Bring your Cars away, we build a Trench in 1:1 Scale
no offense but one dude did it better.
ua-cam.com/video/N4qwZt-pmHA/v-deo.html
I think the problem amount to the model having too much light on it and weird jerky unnatural moves. The ships were actually very static and barely moved and if they did it was slow as snail pace in the original movie. The shooting camera actually gave the motion back then, at least in the original movie for many of the shots. The ships are too clear and also it looks video and not film quality but i would have most likely done the same thing. Good effort!
If you try this again, i would try with less lights and try to maGuiver a camera system that can do the banks instead of the models themselves.... I think it was all in the camera. Not the ships themselves.
Sorry you talk too much.
Gotta get all the necessary info in there somehow!
@@InCameraTV you should show more of the shots while you’re talking. We don’t need to see that much of you two talking. We can hear you. I’m sure you’ll get it dialed in 👍🏻
Don’t listen to him!