he takes the footage and begins the tedious process of roto scoping. you cut out the bus, the shadows, you do it frame by frame. those elements are then layered on to a shot of the empty street. but there s a problem. because of the long duration between the shots, the lighting is off. daniel uses some hollywood magic to mask the error. the shadows aren t necessarily completely right. i added the lens flair to cover up the sun changes. but for many this is a telltale sign the video is fake. unless you re shooting transformers 4 this amount of lens filter is not acceptable. in addition to the lens flair, there may be another slight issue with the video s believability. i just don t believe the bus would barrel right over without even hesitating a little. i m this bus driver and i see a dude in the middle of the street. oh, you know what? i don t like my job, i m just going to try to kill him. oh, that s that kid who lays under my bus every time i go by
roto scoping. you cut out the bus, the wheels, the shadows. you do that frame by frame. those elements are then layered on to a shot of the empty street. but there s a problem. because of the long duration between the shots, the lighting is off. daniel uses some hollywood magic to mask the error. the shadows aren t necessarily completely right. so i added the lens player to just sort of cover up time changes. but for many this is a telltale sign the video is fake. unless you re shooting transformers 4 this amount of lens filter is not acceptable in home video. in addition to the lens flair, there may be another issue. i just don t believe the bus would barrel right over without hesitating a little. i m this bus driver and i see a dude in the middle of the street. oh, you know what? i don t like my job, i m just going to try to kill him. oh, that s that kid who lays under my bus every time i go by trying to get on youtube.
pass, cindy running into the middle of the street and jumping up. then did a pass with the car parked on the hit spot and cindy out there rolling on the hood in different positions. kyle then sends these layers to visual effects artist zane ruddlick to work his magic. it s three shots stitched together in a couple of subtle and kind of clever ways. the original handheld shot up to a moment. then the final handheld shot at the end. but in between, we re seaming that together with the cheated handheld simulated in the computer. to create that shot, zane uses a process called roto scoping. it s this painstaking, tracing frame by frame rachel throughout her roll off the car hood. by isolating her in that way, we re able to drop her on to the other shot. but the devil is in the details. after viewing the effect, zane and kyle decides cindy s moves
the stuntman is visual effects editor daniel saldovar who creates the video on a summer break in high school. that particular day i was bored. i wanted to do something that day. he has a visual effects program on his computer and wants to test it out. his idea is to shoot multiple shots and layer them on top of each other to create the illusion of being run over by a bus. i went out to the front yard, set up my tripod. i set up the camera, lined it up right, watched traffic go by for a few minutes. first he needs a shot of himself lying in the middle of an empty street. but in the process, his special effect nearly becomes a reality. i run out there, lay on the floor and i hear a car coming. i m like, oh, my god, please. i got up and ran out of the way. the driver is like what s going on? he finally gets the shot. all right, i got it. print, let s move on. he takes the footage and begins the tedious process of roto scoping. you cut out the bus, the shadows, you do it
editor daniel saldovar who creates the video on a summer break in high school. that particular day i was bored. i wanted to do something that day, so i m like let s create something. he has a visual effects program on his computer and wants to test it out. his idea is to shoot multiple shots and layer them on top of each other to create the illusion of being run over by a bus. i went out to the front yard, set up my tripod. i set up the camera, lined it up right, watched traffic go by for a few minutes. first he needs a shot of himself lying in the middle of an empty street. but in the process, his special effect nearly becomes a reality. i run out there, lay on the floor and i hear a car coming. i m like, oh, my god, please. i got up and ran out of the way. the driver is like what s going on? he finally gets the shot. all right, i got it. print, let s move on. he takes the footage and begins the tedious process of roto scoping. you cut out the bus, the shadows, you d