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Now having your talent walk on the walls would probably help, too. You’d just have to adjust your shutter phase 90 degrees to match…
Baddabing!
No more coffee for this fellow…
Bar3nd
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And if you had Particular, you’d love this:
https://www.trapcode-people.net/filedetails.php?fileid=5
I realize this is not necessarily the answer to your question, but I wanted to share this with the crowd. Particular is probably the most fun I had with a plugin in a long time.
Bar3nd
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And if you had Particular, you’d love this:
https://www.trapcode-people.net/filedetails.php?fileid=5
I realize this is not necessarily the answer to your question, but I wanted to share this with the crowd. Particular is probably the most fun I had with a plugin in a long time.
Bar3nd
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Actually, if your talent stays within the frame, you’d definitely benefit from shooting with the camera rotated 90 degrees.
You’d be making more efficient use of the pixels. Downscaling after pulling the key would make the DV artifacts along the edges less noticable, and you’d get a sharper result compared to regular shooting. The limitation is of course that the talent would have limited room to move.
On another note: the de-artifactor in Magic Bullet is very effective in removing the DV compression artifacts before keying. Highly recommended.
Bar3nd
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Actually:
You need a color that is at contrast to for instance skin color. So brown, orange, yellow or red would prove problematic.
Second: the more advanced keyers are color difference keyers, and they need a good difference between color channels. So preferably a strong red, green or blue background color. We’ve already said that red is not a good idea for keying out human skin, so that leaves green or blue.
Green spill is uglier on the human skin, but the blue channel suffers more from the DV compression so is usually more pixellated than the green channel…
As far as lighting goes: you need a nice and even lit screen. Preferably a parallel light source. If it doesn’t rain, outside is usually the cheapest solution.
Bar3nd
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I don’t believe Peder would resort to that kind of marketing. Nor does he need to.
Bar3nd
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If your circles are on a transparent background, place them on top of your footage. Select the footage layer, and set its Track Matte to ‘alpha’. This will use the layer above as a transparency source.
Look up ‘track matte’ in the help files if it doesn’t ring a bell. Very handy stuff.
If your circles are black on a white background, you can select luma, or inverse luma for the track matte.
Bar3nd
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Looks like rendering from a 3D application to me.
But you could probably do some of it by animating some solids with a B/W gradient ramp on it. Animate your solids in 3D space, and use the result as a displacement map. You might want to also use the B/W map for some reflection by overlaying it on top of the displaced comp.
But it’ll be a lot more work than the Renascent example, which is actually not that hard to put together in a 3D app.
Bar3nd
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https://www.gridironxfactor.com/products/nucleo_overview.asp
Bar3nd
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Hah! Yes, somehow I was assuming that he’d want volumetrics on existing footage, but when using AE’s own 3D lights, Lux is what you’d want.
Bar3nd
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