![]() Make a new white solid, pre-comp this layer, and open it, naming it “blur map.” Click the rectangle tool (shortcut: Q) and draw a long and skinny mask horizontally across the center of the solid that hangs over the edges of the canvas. Add a camera lens blur from your effects on this layer and hold off on doing anything with the controls until you’ve created the “blur map.” With a mask: First, you need to add an adjustment layer, so right-click in your composition and go choose New > Adjustment Layer, or go up to New > Adjustment Layer and place it on top of the pre-comped footage layer. There are a couple of ways to make the gradient: Play back the clip to make sure it has your preferred look.Ī blur map is essentially a layer with a gradient that tells the blur effect what shape and pattern to take. Pre-compose this footage layer by right-clicking on it (control/command + shift + C), then check the box to move the attributes and name it “footage.” Next, apply the effect Time > Posterize Time to the pre-comp layer and select the frame rate you want to lock to the layer, making the footage look like a timelapse. A lower percentage makes a faster, shorter clip. Put in the percentage that gives you the desired clip length. If your clip is not a timelapse, but you want to speed it up while still making it look like a higher-shutter timelapse, right-click and select Time > Time Stretch. If your clip is already a timelapse, pre-compose this layer (name it “footage”) and go to the next step about the blur map. It can go in any direction (although I haven’t seen many focal planes that are perfectly vertical), so experiment with the angle and rotation of the lens or effect for the best look.Ĭreate a new project, import your footage, and make a new composition with it. ![]() Tilt appropriately: You should line up your tilted focal plane so that it has the best effect on your footage. Saturation: This is more for post processing, but since toys are vibrant and very colorful, you want your video to also be highly saturated. Blurred objects won’t look right, because, well, they’ll be blurry. Make sure to keep a faster shutter speed (faster than 1/60) to keep everything sharp. This is because our eyes think of tiny things as moving very quickly, and having tiny moving objects jump around in the frame adds to the diorama effect, making objects look like toys. ![]() Make it a timelapse: Most tilt-shift videos you see are timelapses. It’s why most tilt-shift shots are of people, cars, boats, etc. Use Moving Objects: If there’s no change in the frame, the miniature effect may not translate as well. Zoom in (if possible): The longer your focal length, the more compressed everything will be in the shot, resulting in a better miniature effect. The whole point of using a tilt-shift lens for the miniature effect is to make it seem like the whole scene is a scale model using a macro lens, so you need to consider a few things to replicate this look:īe elevated: Looking down at the scene is crucial, because it makes objects appear smaller and gives you a bigger area to see in the shot.Ĭonsider the scale: As you’re trying to replicate a scale model, you need to make sure your subject or objects are fairly small in the frame. Tips for Shooting Successful Tilt-Shift Footage (That’s about all I’ll say about that, since this post is more focused on the miniature effect.) Instead of pointing the camera up to capture a building with distortion, the lens is pointed straight ahead (or as close to level as possible) and then “shifted” with the knobs up or down to get the intended angle. ![]() The “shift” function of the lens is great for shooting buildings, landscapes, tall landmarks, or objects that can get distorted by the wide-angle lens. People at the Beach (Tilt Shift) by eyeidea
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