laptop-open
Laptop mockup animation: a MacBook opening with depth of field and a zoom into the screen. A laptop opening out of focus, holding, and then swallowing the lens. The shot starts a hand's width from the glass with everything but the line blurred out of it, pulls back until the whole machine is on the page, holds while whatever is on the screen plays, and then pushes back in until the screen is the frame — and comes out the other side as a field of colour with a line typing itself across it. The pose is four numbers a frame: the lid is symmetric about x = 354.5 on all 93 frames it is measurable on (±0.5), so the projective pose of a rectangle facing the lens collapses to the half-width of the glass's top edge, the half-width of its bottom edge, and the two rows they sit on. Which edge is the wider one changes sign partway through — the lens starts above the glass and ends under it — and that is the whole of the perspective, and the reason this cannot be a scale and a rotateX: the tilt and the camera distance trade off exactly, and solving for both is solving for a number the recording does not contain. Everything else on the machine is that quad again — the lid is the glass plus a bezel in the glass's own plane, which is what makes the chin come out deeper than the brow the way a real machine seen from below does — and only the deck is a second plane, hinged on the glass's bottom edge.
laptop-open
Laptop mockup animation: a MacBook opening with depth of field and a zoom into the screen. A laptop opening out of focus, holding, and then swallowing the lens. The shot starts a hand's width from the glass with everything but the line blurred out of it, pulls back until the whole machine is on the page, holds while whatever is on the screen plays, and then pushes back in until the screen is the frame — and comes out the other side as a field of colour with a line typing itself across it. The pose is four numbers a frame: the lid is symmetric about x = 354.5 on all 93 frames it is measurable on (±0.5), so the projective pose of a rectangle facing the lens collapses to the half-width of the glass's top edge, the half-width of its bottom edge, and the two rows they sit on. Which edge is the wider one changes sign partway through — the lens starts above the glass and ends under it — and that is the whole of the perspective, and the reason this cannot be a scale and a rotateX: the tilt and the camera distance trade off exactly, and solving for both is solving for a number the recording does not contain. Everything else on the machine is that quad again — the lid is the glass plus a bezel in the glass's own plane, which is what makes the chin come out deeper than the brow the way a real machine seen from below does — and only the deck is a second plane, hinged on the glass's bottom edge.