Angelo Lorenzo
Forum Replies Created
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Dave swooped in and clarified my answers.
How long would it take to produce something like this? I would say it’d take an artist and a digital editor about 3-4 weeks for something of this length. In my mind this encompasses dealing with a client so some time will be spent doing a few versions of rough edits/previsualization and so forth.
I guess I should say I’ve cheated a little bit. I bid a job for a perspective client who wanted the exact same thing about 8 weeks ago.
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Green screen with glass or acrylic laid on top. Green dry-erase marker. The actor adlibs the drawing to an already animated sequence of hand drawn images and computer drawn text and strokes. The actor’s hand is then keyed and overlaid with the animation. Done deal.
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Nest the corner pinned layer, then you can change the scale of the new nested layer by 1% or nudge it over.
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What file container/codec are you rendering out to and what program are you watching the footage with?
Other useful info:
Render settings
Project resolution (width and height) -
I usually precomp some noise with a slight blur then overlay/soft light it onto a composite. Straight noise usually looks too sharp.
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In my mind, there are only a few choices. It sounds like you want/need some kind of simple animation and timing.
For 2D/Drawing you’re looking either at Adobe Flash (although known for web development, it’s a powerful animation tool that you can export out to a video file) or Adobe After Effects.
If you want something 3D I suggest Frame Forge Pre-Vis Core https://www.frameforge3d.com/Products/Core-Version/ . Its about $400, but I use it on most, if not all, of my time sensitive shoots like tv commercials. You can scout your location, measure it out and rebuild it in 3D so you know your lensing, camera placement, blocking, and so on. Animation is fundamental, with the ability to export tweened frames between the major storyboard frames. Super powerful and I’ve only had to use a full blown 3D program like Maya for really large scale scenes or projects.
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Ctrl-Z if the project is still open. Or go to your project folder and see if one of the autosaves still has what you need.
Chances are you’ll have to redo your work, but keep in mind you shouldn’t be masking frame by frame (it sounds like you are). Why? It takes way too much work and it’s usually horrible looking because it introduces so much edge jitter. You should use key frames to automate the movement of the mask points as much as possible; once that is set, you can go in and correct for drift.
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I think you need to describe your situation more. Are these files on one SAN or transferred between single workstations. Do you have a post production or QA supervisor that signs off on what is distributed (in other words, marking cuts or title sequences as “finals”).
Why so many conversions? What programs are involved and can you pick an intermediate codec that will serve near everyone involved?
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I don’t like it. I think it’s a side effect of some of the whizbang production in music videos and American film. Producers and editors also seem to use it as a crutch to make an interview more exciting and impactful. I haven’t really seen it as much in the European television I’ve watched, but that’s only a small amount.
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Windows does not have the ProRes encoder, blame Apple. Premiere Pro does have access to jpeg, its a quicktime codec labeled “Photo – JPEG”… but at that point I would probably go for JPEG2000 instead.