5 Creative Transitions Every Filmmaker NEEDS

[Music] three two one spray [Music] what's up youtube in today's video i'm going to teach you five creative transitions every filmmaker needs i just wrapped shooting a commercial for flipstick and in the commercial there are eight different scenes each tied together with creative transitions some of which were a lot harder than others this video will mainly be covering how i shot these specific transitions for this commercial and i will not be going over in depth how i edited them to look the way they did we have an entire course over a full-time filmmaker on how you can shoot and edit seamless transitions so if you're hungry for more tutorials on this subject seamless video pro is a great place to start and we'll drop that course link in the description below but moving on to how i shot these five creative transitions starting with the first transition the camera rotation match cut a match cut transition is essentially when you stitch two shots together with the same dominating subject and composition but the background changes now i've seen this used in a few different scenarios first by sam kohler with his oneplus video and then again when landon reviewed the mavic 3. the trickiest part about doing this transition with a phone is that i had to figure out how to mount the phone to the red raptor i'd be shooting on so nate taylor and i took all the smaller parts we had and built a small rig that lived on some nato rails and then hollywood taped the phone to it all right so nate walk us through what you're doing i'm etching my initials from my angle from my angle like nate was just etching into the raptor i was like i'm happy with it nate great work dude thank you oh it looks so cool you guys [Music] for this shot specifically we used the 15-35 rf lens and kept the lens at 15 millimeter the nato rails were in the shot but we knew that we'd be cropping in a lot in post so it didn't bother us now for getting the actual shot that was the fun part a little bit everyone said i think you're working and three two one action [Music] so the flip stick product for this commercial helps your phone stick to any surface right so to remove the phone from the surface you're supposed to twist off and pull so that was our transition twisting the phone off so with the phone mounted on the rig i'm basically showing the audience the viewers of this commercial the pov of the flip stick with the audience behind it as it's being removed and applied from a surface so to imitate the twisting movement all i did was rotate the camera 90 degrees each direction and this transition happened twice in the video once from our tick tocker scene to the athlete and then again from the filmmakers to the razer writers and then all it's left to do in post is cut when the background is in peak transition aka when there is the most motion blur so that the cut feels more seamless transition number two was the explosion shot this shot was very unique and took a lot of takes before i was able to nail both the in transition and the out transition just an absurd amount of flour all right that's what i'm i think my yeah three two one spray two one spurts action you guys just get raptors dirty like it's nothing and three two one spray for a creative transition to really work you need your a-clip and your b-clip to match in composition and or exposure so i had to make sure the athlete's hands clap in the exact same spot of the frame as to where the chef's pizza dough is being hit i shot the athlete shot at 120 frames per second and the chef's at 50 frames mainly to give me some freedom in post for speed ramping and helping it feel more epic it also took a few takes for the athlete's chalk and the chef's flower to explode big enough to sell the effect once i got that shot all it was left to do in post was adjust the framing of the shot so the athlete's hands matched up with the chef's dough speed rammed in and out and key framed the transition to feel more like an explosion was going off with motion blur and camera shake transition number three is the frame fill i did this transition twice and it's when your subject covers up the entire frame to hide the cut that's happening between your a and your b shot for the transition in i had our camera on a probe lens pushing into a pizza slice that eventually covers up the entire frame three two one action enter talent and grab the zaw [Music] once the frame is engulfed by the pizza we hard cut to the bee shot where the traveler is opening up her backpack and pulling out the phone the pizza shot ends in darkness and the backpack shot starts in darkness i'm trying to hold the light hold the phone hold the camera and do all this what can i do [Music] that was it all that's left to help sell it is coloring your shots to match especially the blacks and you can also add a quick fade to black transition in between the clips just in case there's any light spillage which i had so i kind of cheated but it still worked on the second frame filled transition it involved a green screen the traveler puts their phone on the back of a seat and the camera pushes into the screen and when the camera pulls out we're in a different location entirely so i frame up my shot and i did a subtle push in and relied heavily on the 8k resolution of the red raptor to give me a lot of room to scale and post for the exact frame i needed and i did the reverse on my b shot in the child's room pulling out from a full green screen frame to reveal that we're now in a different room and then all that's left is creating your composite for the green screen to help sell that the two scenes are one transition number four is the blur dissolve transition i thought this shot turned out pretty cool we had our a shot of the child talking to their grandparents while the camera is panning right to left we glide past a tan basket and that transitions to our b shot where once again we're panning our camera right to left but gliding past a tan shirt that also fills the frame like the basket all right the big smiles again you love this show you're having fun okay you haven't oh no dad's tickling you okay there we go this is my kip keep that [Music] that was good you could call this a frame fill transition but the post-production was a little bit different so i'm gonna give it its own category first i decide where my cuts going to be which is where the clips match up the best and then i pick 10 to 15 frames of clip a and during those 10 15 frames i keyframe my gaussian blur effect to start at zero and grow to a hundred and for the last five to ten frames i keyframe the opacity to go from 100 to zero so the clips mesh together the blur is helping the a-clip mesh with the b-clip and the opacity helps the a-clip disappear to reveal the b-clip and the result is a seamless transition from a child's playroom basket to the backside of nate taylor approaching his film set and the final transition transition number five is the sun flare transition the transition in the commercial goes from our razer riders taking the phone off the razor and lifting it into the sun a sun flare blinds the screen and when it goes away it's revealed that you are now in a different setting [Music] we're going to wrap the red and saran wrap so that doesn't get dirty and dusty we want no sand getting in here so we're gonna use a rubber band [Music] shoot i was in the shot when i yell action we'll just have one person maybe two people actually just from one from each side come down the half pipe sick yeah try it [Music] oh [Music] so the razer scene was easy we had the talent twist off the phone and whip the camera up into the sun's rays but when i shot the skater scene the sun wasn't bright enough that day to give me the same bright flare that would cover the whole screen i stitched the two clips together with some reframing and speed ramps but to really tie the clips together i threw on a quick light hit from lens distortion and reframed it so that it matched up with where the sun was coming from in our a and b shots then of course i matched color added some more lens flares throughout the skater shot and voila we have a sunflower transition but that is it guys for our five creative transitions that we use in our latest commercial we hope you enjoyed it again if you want to learn more about how to create seamless transitions both how to shoot them and how to edit them check out stainless video pro our 20 episode mini course link in the description below and seamless video pro is just one of many workshops included in our online course full-time filmmaker full of over 600 tutorials that cover every genre of filmmaking anyway guys thank you so much for watching hit that like button and let us know down in the comments what you'd like to see us do next but that's it for today you guys if you have any further questions please let me know [Music] [Applause] wow [Music] [Applause] [Music] [Music] maybe [Music] oh bye

Channel: Parker Walbeck

Views: 171,731

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Id: bIV4WP-F6zI

Length: 11min 16sec (676 seconds)

Published: Tue Mar 01 2022