Can this be done with RE:Flex
Just wanted to see what you experts thought of this effect http://www.director-file.com/gondry/polaroid.html
and how it was done post wise, my understanding is that it was shot with 2 cameras and then the movement has been created via some kind of morph.
So do you think this is possible with RE:Flex ?
I was thinking that due to the movement of the actors continuing through the morph as it were, that each set of identical frames from the two cameras had been morphed, and then a new edit made from frames taken from the morphs, if you get my drift ????
Also would it be easier to green screen the actors and comp a morphed background back in ?? I'm new to re:flex or any morphing for that matter, any help much appreciated.
P.S Same for this,
are the photographed frames just morphed together, to create a smooth motion ???
yes and yes
Some hand work probably involved (in RE:Flex Motion Morph)
Some thoughts to get you started:
The cameras should be synchronized (you could use a stereo gear for that as well).
In RE:Flex Motion Morph, one view you use as From and the other as To and you animate the Global Warping to go from a clip to the other (checking the Auto-Align button on).
You often for that sort of things need to make a matte to isolate the foreground action if there is too much disparity between the views -- too large areas not visible from the other view (so turn that into a 2 step process, where in the first case you fill somehow the background hole left by removing the foreground action, then do it just on the foreground).
Be aware that the motion estimation component will only make sense where the frames overlap so you need to pad yourself (crop the final).
I have done some interest fast things using still stereo cam and using RE:Flex to move between views (as in you move to the other "eye" then at 0% or 100% of Warp and Blend you swap pictures so you go to the next position of that "eye"), so you preedit accordingly the stills on the timeline.
In the case of the special photo gear used on Chris Orange project at Glassworks.co.uk, you could probably do it in Twixtor if you treat the individual still frames. If you have any action in the shot all the cameras must be perfectly in synch. It helps a lot if there is not more then 5-10 degrees of difference between the views (so avoid objects real near the camera).
You would simplify your life a lot to work with green screen and a two pass capture process.