Ben G unguren
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After Effects Coin
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COW Coins
Forum Replies Created
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I don’t know what you mean by “Delace” — do you mean to say “Deinterlace”? That’s all I can figure out, except that interlaced imagery comes from video cameras, not from a printed photograph….
Ben Unguren
Motion Graphics & Editing
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I can’t get a good sense of your camera’s type of movement from the shot you provided. If the camera isn’t changing its position (only panning and tilting, essentially), then you only need one or two solidly tracked points to get the job done. Note that this is sometimes possible with handheld shots, if the camera remains in the same physical location, more or less (there may be some drifting when trying to “solve” a handheld shot as a camera-on-a-tripod shot, but with some shots it’s the only possible solution).
If your camera is moving through physical space, then you’re probably going to have to reshoot. For one thing, your tracker points are all on the same plane — you need depth (foreground objects, background objects) in order to get a good 3D solution. And your trackers need to be spread out on the back wall. (You probably already know all this, but it’s worth pointing out for other people who might stumble across this post.) The only possible thing that could save this is the rigging and other trackable data at the top and sides of the greenscreen (we only see it briefly in the shot you provide). If you have footage that includes those elements you might be able to grip onto something. But frankly, in my opinion, things look bleak if your camera wasn’t on a tripod.
Ben Unguren
Motion Graphics & Editing
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You should be able to pull a good key with either of those, IMO. In general having dedicated illumination for the green wall/fabric helps, as long as you’re not overexposing. Higher-end keying facilities will use green lights on the wall (using gel might create a similar effect) which send some additional green light bouncing off the green surface.
Have you tried this with a person or object in front of it? That’s really where the rubber meets the road, especially when you consider that you need to add lights for the subject, etc….
Ben Unguren
Motion Graphics & Editing
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For my part, the two key issues are whether the camera is moving (tripod? handheld? locked down?) and how busy the space behind the windsurfer is. If there’s a lot of camera movement, or if there are a bunch of other surfers behind the to-be-slowed-down surfer, then the shot will be more complicated to pull off….
The basic process:
1. Rotoscope the windsurfer. If s/he’s against a plain blue sky, then the roto can be rough. If there are detailed things that intersect with the edges of the windsurfer, then you’ll need a much tighter matte.2. Slow down the windsurfer. You’d probably want to use the Timewarp effect (included with AE) or Twixtor (a third-party plugin). You may need/want to render out the rotoscoped surfer before doing this, or at least precomp it so the rotoscoping is “applied” before the time manipulation filters go into effect.
3. Remove the “real-time” windsurfer from the background. MochaPro (different from MochaAE) can do this almost automatically in certain shots. The clone-stamp tool in AE might help. It all depends on what the footage is doing, but the idea is that you probably don’t want to see the real-time surfer behind the slowed-down surfer.
Note that if your camera isn’t locked down, then you’ll need to do a couple extra steps. First, you need to stabilize the camera movement on the slowed-down surfer, so it seems like it was a static shot. Second, you’d need to reintroduce the real-time camera movement to the slowed-down surfer. This is tricky, but frankly it would do a ton to help sell the shot, make it convincing, etc. Good luck!
Ben Unguren
Motion Graphics & Editing
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A mocha track wouldn’t take long and might make a big difference over hand tracking. Then again, hand tracking has a certain appeal to it as well. But if the child is making any kind of small movements, the hand tracking tends to miss it.
Ben Unguren
Motion Graphics & Editing
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Note that a precomped adjustment layer will continue to act as an adjustment layer in the upstream comp ONLY if you have the Collapse Transformations switch enabled. This is actually a very fun technique that can be a bit tricky to manage….
Ben Unguren
Motion Graphics & Editing
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Well, shucks. I know there should be an obvious answer here but I’d probably have to see it to know what to do. One option is to DISABLE motion blur across the board, then take your final animation, precomp it, and apply the CC Force Motion Blur filter to the entire thing. That often does the trick….
Ben Unguren
Motion Graphics & Editing
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Is this a compositing problem, or it is a movement problem, or both?
If it’s compositing, posting a still will be very helpful.Ben Unguren
Motion Graphics & Editing
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You could use Mocha AE to track different parts of the truck, resulting in multiple rotoscoped mattes that you can use in combination with some color-correction filters… This would probably produce smoother movement than frame-by-frame painting.
FYI there is a “Change Color” filter in AE, where you can isolate a specific color range and tweak its hue/sat/etc, but for something like a white truck, my guess is it won’t work very well…..
Ben Unguren
Motion Graphics & Editing
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Glad you’ve got that sorted out. Don’t discard Mocha entirely, by the way. I absolutely love Mocha for some things (like rotoscoping, removing gunk on a wall, etc), and I prefer 3D trackers for other needs…..
Ben Unguren
Motion Graphics & Editing
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