Ben G unguren
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After Effects Coin
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COW Coins
Forum Replies Created
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Looks to me like you’ll need to do some rotoscoping. Take a look at Mocha AE (included with later versions of AE). You might be able to use the Calculations filter to isolate certain parts of the image, then combine that with MochaAE to come up with a useful matte.
Ben Unguren
Motion Graphics & Editing
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[Andrew Marchand] ” I seem unable to get the proper codec/file format.”
It would be helpful if you were more specific here. Is the image not showing up at all, or are you simply needing to render everything?
In general, if you’re on a PC and want to send something to a Mac, you’ll want to install Quicktime player and render to a .mov using a Quicktime codec. The Animation codec is the most reliable codec (in my experience) but it isn’t for editing, so your editor will need to recompress it into whatever codec s/he is using for editing.
Ideally you will be able to compress to the exact codec that’s being used for editing, but if it’s ProRes (for example) you won’t be able to do that. So if there isn’t a way to render to the exact codec you need, then render to .mov with the Animation codec.
Ben Unguren
Motion Graphics & Editing
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Make a copy of your key, then try the Simple Choker, giving it a value of, say, 5.0
Then add a Fast Blur.Combine that result with your original to get a nice matte (blurred inside, crisp outside), precomp it and use the new and improved alpha to your heart’s delight.
Ben Unguren
Motion Graphics & Editing
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What’s not working with Echo? As long as you get your precomps right, Echo seems like the perfect filter for this look.
Ben Unguren
Motion Graphics & Editing
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Is it possible you’re working with decimals (0-1) instead of 8-bit (0-255)? Which means you’d need to enter 0.5, 0.5, 0.55 (or something like that).
Ben Unguren
Motion Graphics & Editing
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I Haven’t worked at all with the huffyuv codec (probably because I’m mostly on macs), but in general if a codec is giving you problems, you transcode to a different codec. Lately I’ve been impressed with Avid’s DNxHD, which is free and cross-platform.
Ben Unguren
Motion Graphics & Editing
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[sim xiaozhang] “So i am not messing out the dpx footage? Am i correct?”
I do the entire setup, with both cineon filters, before doing any compositing. That way I’m always looking at the final image. (Linear space doesn’t make a lot of visual sense to me, though I can understand how the math works, more or less.)
If you didn’t have any composite, but just the base DPX sequence with cineon log->linear, and then the adjustment layer linear->log above that, the image should look exactly the same as the original DPX.
As for the slightly washed-out look (not the linear-space super-washed out look), I’ve seen DPX files do this before. I’m not sure if it’s a color space issue or not. I received color-corrected files from the colorist, and after I added effects to the DPX files, I rendered back out as DPX. These went back to the colorist, who looked at them and tightened the levels to clamp the blacks and whites a bit. I’m guessing it had something to do with how I was interpreting the footage, but I never figured that out. The colorist told me that next time I could just clamp the levels myself to bring the blacks closer to 0 and the whites closer to 100.
Ben Unguren
Motion Graphics & Editing
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It’s called a “Difference Matte” and is a filter in AE. You’ll need a still image of your video to use as the matte to calculate the difference. I usually use a precomp and time remap with a single keyframe where the object I’m keying out isn’t there.
Note that Difference Matte isn’t going to get you as nice a result as something like Keylight usually will. But give it a go at any rate, see how it looks….
Ben Unguren
Motion Graphics & Editing
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You need to apply the cineon converter TWICE. Once to move your footage to linear space, and once to bring it into logarithmic space. Here’s one way to do it, using adjustment layers:
1. (Top Layer) Adjustment layer: Cineon Converter effect: Linear to Log
2. 3D composite layer
3. 3D composite layer
4. 3D composite layer (etc, etc)
5. Original footage: Cineon Converter effect: Log to LinearWith this kind of setup, your 3D composite layers are doing their work in linear space, which can give a nicer composite if you have 10-bit or higher source footage (which I”m assuming you do, as you are using DPX footage). Keep in mind, however, that the difference is often quite subtle from what you’d get if you were working the entire time in log space.
If your DPX is looking a bit washed out, place an adjustment layer over the cineon converter layer and apply the levels effect. Clamp the white and black levels a bit to make it a bit more contrasty.
Ben Unguren
Motion Graphics & Editing
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That would work, but it feels like too much work for what you want. I’d probably let them lean against a c-stand or wall, or put their chin on a table, to keep the head steady. Then I’d just film them without any fancy paint. Then I’d just use masks — MochaAE if there was any funky movement I needed to roto out — to cut out the eye.
For my part, greenscreen exists to make roto jobs simpler. A static eye (even with the occasional blink) is so easy to roto out, it would probably take longer to paint the face, and then pull a good key with all the shadows, etc… So greenscreen would probably make this job more complex.
Ben Unguren
Motion Graphics & Editing
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