Al
Forum Replies Created
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No problems 🙂 Unfortunately i don’t use MB so can’t help you on that one… good luck 🙂
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not sure about the blue line, never heard of it – is it on your source footage or is AE creating it? Does it appear in final renders? Is your default bg set to blue? How thick is the line? Can you temporarily fix the problem by putting a black solid over it for client viewing purposes?
but as per rendering it so it stays 16:9 for viewing in quicktime – just adjust your final render setting so it is 1024×576 and then quicktime will show it 16:9 (this works for combustion and i’m going to assume it’s ditto for ae)
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then once you’ve done all that — at the bottom of the comp window you may need to hit the button with the little white square to make the comp see the right pixel aspect ratio
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Hmmm i’m afraid i can’t help with the resources… i went over to combustion after AE…
But, yes, it is similiar to making a path in photoshop. The main difficulty people who are new to roto work have is that they struggle to decide which point they actually masking – and over the duration of their clip they will change their mind and as a result their mask shifts, and seems to have a life of its own. My advice is to always mask a few pixels within the line of whatever you are masking – this gives you a slight margin of error but will not effect the result.
The other advice i’d give is not to have too many control points. This is very common among new roto workers. If you’re masking a head and you’ve got 18 control points – then you’ve got too many. The more control points you have – the longer it’s going to take.
Also, experiment with tracking your mask – this can save you loads and loads of time. You can also track each control point, which can really help if your subject changes shape. This won’t be the answer for each mask – but it’s definately a time saving technique worth checking out.
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learning how to roto is a technique, which can then be applied to multiple platforms.
i can’t speak about DFusion – but as far as AE and Combustion are concerned – roto is much more effecient on Combustion. The reason for this is that Combustion has splines which you can use to feather your mask at each control point – AE just has an overall feather for the entire mask.
The best way to learn roto is to get some footage and start cutting things out – it’s a technique you’ll learn more through trial and error than a chapter from a book.
If you do use combustion, make sure you use the Compare tool – a lot of people miss it, and it makes roto work a lot easier.
Good luck.
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P and AE work together; just open your timeline in AE and you’ll see all your seperate clips. Then CC each clip, render your compoisition – import back into P.
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i personally wouldn’t bother keying until i was working with uncompressed footage, as the keys you pull would vary due to the compression. you’d end up making more work for yourself… but if you’ve got time on your hands – then it’s all good 🙂
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If you can pull a perfect key then i wouldn’t bother colour correcting before keying… unfortunately there’s not a lot you can do when they’ve shot dark – it’ll be a fine balance between getting as much detail back as you can and not making it overly grainy…
good luck
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hmmm.. why don’t you just try both ways and see what works best? there’s no hard + fast rules here. i’d be trying everything to pull the key, badly lit blue/green screens are a bugger.
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hmmm.. why don’t you just try both ways and see what works best? there’s no hard + fast rules here. i’d be trying everything to pull the key, badly lit blue/green screens are a bugger.