After Effects Session #2

As a group, we looked through our shots and decided which we want to use for the edit of our uncanny sequence. We then separated and worked on our own versions of the sequence.

I began by importing the first shot into After Effects, followed by the photograph of a woodland scene (sourced by Daryl). I then used key frame-linear colour key-using chroma, to remove the green screen from the shot. As the green screen was not completely erased, I used spill suppressor and matte choker to remove all green. 

I then placed the woodland photograph in the timeline and adjusted the matte choker further to blend the image into it's surroundings. I also used transform-rotate to adjust the photograph's angle to match that of the picture frame.

For the next shot, I used the same techniques to remove the green screen but this time, I also removed the green screen in a scene we shot in the studio in which our stag walks towards the camera. Once I had done this, I could superimpose the stag into the woodland scene. I resized the stag to create the impression it is far away and used the keyframe to mark the point at which I want the stag to "grow larger". This makes it seem as though the stag is walking along the path, towards the viewer.  Here, I encountered a problem, the shot of the stag walking did not last long enough and the feet were cut off towards the end. I therefore used transitions-block dissolve and the keyframe tool again to fade the stag out.

I wanted the stag to fade back in but be much further along the path. I therefore decided to used another shot of the stag shot within our set, where it begins to climb out of the frame. I used the mask tool to cut out the mid-shot of the stag and again superimposed it into the woodland photograph.

I used the cut away to the side as a transition into the next shot as this removes the issue of trying to cross dissolve and match two similar images of the stag climbing out of the frame. This shot shows the stag begin to climb out of the frame but cuts to a wide angle of the entire set. 

I again, removed the green screen which was placed behind our set and replaced it with the woodland photograph. The wide angle shot shows the stag climbing out of the frame, dusting himself off, sitting down and smoking his pipe before turning his head slightly to the side. It was at this point that we wanted a doppelgänger of the stag to appear in woodland scene, thus creating the impression that there is an ongoing cycle within this uncanny world we have created. 

I found that using the same techniques as in previous shots, that is, cutting out the stag from another scene and superimposing it into this scene, I could fade the doppelgänger into the picture frame.

I then rendered each edited shot, using the process shown in the previous After Effects session.

I then imported each scene into Premiere and created the sequence in the correct order and accompanied by a soundtrack. You can see this video below, however I have encountered some technical difficulties and the last scene is not shown. However I believe it demonstrates my efforts and abilities when using After Effects and how I have taken the information given in timetabled sessions and used it to create differing uncanny scenes. 

For our final sequence, we have decided to work on one shot/scene each and then put them together in Premiere. This would then eliminate the issue of only one person doing all of the editing work in After Effects and would portray our individual contribution as well as our ability to create a film sequence as a group.