Andy Zou
Forum Replies Created
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So you don’t recommend using any shortcuts for batch adjusting clips? I don’t have any issues with them, but if I have a dozen takes with the exact same lighting, it doesn’t really make sense to me that I should edit each one individually when I could edit them all simultaneously with a master or adjustment layer.
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That pre-compose from the project panel is pretty nifty, I hope I’ll be able to use it sometime.
I guess my issue is that precomps may be useful for keeping things in sync across a project, but then, sometime I might have to do something unique to an instance that I wouldn’t want to ripple across, but then again, maybe that is the point that I should make another precomp…
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Yes, I am interested in creating 180-degree stereoscopic content
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Even in the Oculus/VR space? That seems to be picking up if anything.
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Looks like you spoke too soon. Sony VENICE!
Honestly, I think decades of super35mm work meant most of the cinematography tech was adapted to it. Full Frame is primarily a photo realm, and not all lenses or mounts are designed for it. Why chase that extra bit of sensor size if it didn’t truly add that much? You’d be venturing a lot of new ideas into a realm that wasn’t entirely necessary; people make things on 16mm still.
I think that 70mm represented a big enough leap over super35 to warrant new development while Full Frame is just not big enough of a jump.
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Thankfully it’s a home studio and I’m the only actor so it’s relatively low stakes!
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Here’s the final product! Hope you enjoy!
https://www.youtube.com/watch?v=iLNypL04zH0
Had a solid time learning more about the limitations of the difference Matte as well as how to use the Refine Hard Matte and Matte Choker. Also even found uses for Mask Expansion, which I never really thought of a good use for until I was selectively masking problem edges but needed to have a manual “inside mask.”
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Hey Dave, thanks.
I’m definitely not applying anything to the lowest layer (the light blue shirt). I’m away from editing rig right now, but I can tell you the layers are like this:
1. Suit.
2. Dark Blue.
3. Light Blue.
4. Plate.Light Blue has no effects applied, Suit and Dark Blue have Difference Matte applied using the Plate.
The white line I believe I know how to fix easily as you said with the Refine Matte. What I am less knowledgeable on how to properly fix is that after using the Difference matte on Suit, there is noisiness that is most apparent on Dark Blue’s shirt, and to a lesser extent, Dark Blue puts noise onto Light Blue. I can matte out some of it tediously, but I am wondering if there is a better tool for the noise.
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Looking at the screenshot now on my phone I see that the noise is a lot harder to make out in a small still frame, but in motion on a larger screen there’s some noisiness on the back two characters.
Capture was in 4k, export will be 1080.
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If I had had more time, or have known how difficult the difference matte would be, I would have just moved a green screen around for every set up. But I didn’t, so this is what I have to deal with. Every shot has a plate without any actors in it.
For the hard white line around the character in the suit, I will use refine matet, yes, but is there a recommendation for the noise that that first layer is putting on to the other characters in the background?