CC Wire Removal, Clone Stamp, or Masking??

[Daniel Elder]

No, we had no budget and the singer (girl hoisted) wanted to do something of this nature where we could levitate her. We shot about 15 different angles, takes, cut-aways, etc.

I know this is tricky, but what can I do to make this work to the best of your knowledge.

Thanks,
Dan

Daniel Elder
producer
http://www.elderpictures.com

[Daniel Elder]

Thanks Dave,

I figured that much, what I do have going for me is that I need to make this feel over saturated and slightly blurry with the background, so once I have all those elements touched up, I plan to do a loose mask around the talent to blur the background and the idea is that will blend in some of the imperfections I’ll likely have here. Also, good thing its only about 5 seconds of the shot I need.

As for Rotobrush, is that a 3rd part plugin? And for the crew and the pole, I’ve already cut around that portion, so that I don’t need to worry about. The main worry is the rope and harness which will be the most time consuming.

Thanks!
Dan

Daniel Elder
producer
http://www.elderpictures.com

[Walter Soyka]

Rather than trying to use the clean plate to assist in the rig removal, I’d put the talent on the clean plate.

Maybe stabilize the shot with the talent as best as you can (so the talent stays in more or less the same place in the frame), then rotoscope the talent (ugh). Stabilize the clean plate, insert the talent, then reverse the stabilization.

The good news is that the talent is meant to levitate in the shot, so you’ll have a lot more leeway with the tracking than you would ordinarily. Gauzy stylizing will help, too.

Walter Soyka
Principal & Designer at Keen Live
Motion Graphics, Widescreen Events, Presentation Design, and Consulting
RenderBreak Blog – What I’m thinking when my workstation’s thinking
Creative Cow Forum Host: Live & Stage Events

[Daniel Elder]

Thanks Walter,

I like that idea too, I think the styling of the shot will definitely be key with this all obviously, so once I have the sequence laid out, I’ll give both a test run and let you know how it comes out.

Dan

Daniel Elder
producer
http://www.elderpictures.com

[Tero Ahlfors]

You could also try the color stabilizer effect to deal with the constantly changing light condition.

[Daniel Elder]

Okay, I’ll give that a go too. Thanks!

Daniel Elder
producer
http://www.elderpictures.com

[Andrew Somers]

Let me echo what Walter is saying here – it is *generally* the case that you don’t want to “remove the rig” – you want to cut out the subject and then comp them back into a clean element.

I’m not sure what you are going for here, or why this was done stop motion, or what your intent is. I don’t understand why you would do stop motion with a live actress against a live plate – this makes no sense to me at all, unless you are trying to get that “king kong” effect to match with other stop motion animation??

TO MAKE A CLEAN PLATE: Do you care if the plate is static, or do you want the trees to wiggle and shimmy as they do there in “stop motion” ?

If static, then simply take several frames from various points in your clean element, and stitch them into a single tall still element, and then keyframe that to match the tilt down.

If you want the jiggly/jittery trees, the create a synthetic plate using your A element, and the clean element, time warping the clean element as needed to match the A element tilt down, and then use garbage masking to combine the two, using the natural geometry of the scene to hide the transition.

If you want natural waving leaves, then shoot multiple elements at normal speed for several positions through the tilt. Make sure each one is long enough for the full shot. Overlap each one about 50%, then stitch together and keyframe the motion as per the static plate above.

ROTO:

Use MOCHA to roto the entire girl, paying particular attention to the top edge of her, and wherever the black guide poles enter frame.

It is best to use multiple separate rotos for various body parts. You can do a basic garbage roto around the lower white skirt thingy.

You will need a separate roto around the top of the dress where the rope extends, and this needs to re replaced with a dress element that is not “pulled up”.

(for the pulled up dress, try the MESH WARP efect to flatten it, or paint a flatter element to lay over in association with the roto).