Bill Oneil
Forum Replies Created
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I had never heard of the Micro 4/3 lens format until the AF-100 arrived. 35mm lenses have always been a standard and I have acquired a nice collection of Nikons over the years . I also own a Canon 17-55mm 2.8 and a 50mm 1.4 for my Canon 7D.
It sounds like it’s best to just purchase some fast Micro 4/3 lenses to get the most out of the AF-100 while requiring less light.
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Thanks Guy. That’s good information. Actually, the Brevis 35mm adaptor only loses about a 1/2 stop with the flip module, plus the charge will last all day for the oscillating image plate. It is a bit of a hassle but it’s almost second nature to me after using it for the past few years on my HVX-200.
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The widest Nikon I have is 28mm so I would have to purchase a micro 4/3″ wide lens to be covered.
Hmmm, Maybe I’ll just purchase the new AG-HPX250 10 bit P2 camera and use my brevis 35mm adaptor for the shallow DOF stuff.
I wish Panasonic would create a 10 bit, 35mm large sensor camera that records to P2.
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Yes, I understand all of this. I had just heard from a guy that the new adaptor moves the lens further from the sensor, thus making it more true to the original focal length. He must have erred in his claim or he was mistakenly referring to a Micro 4/3 lenses.
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With the Canon 7D, I have found that when shooting 30fps, 1/60 is the correct number to simulate proper film motion blur. Your aperature setting will be a slave to this shutter setting so if you want shallow depth of field you’ll need some neutral density filters on the front of the glass.
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[April Henderson] “parts of the stage look so curved. Are they really curved 3d objects or just an illusion of that?”
That’s the hitch with AE 3D. There are no curved surfaces. It’s all simulated from flat art. The cracks between the layers is typical. You have to be really precise in aligning layers. It helps to have a dark background and to create surfaces that are darker at the edges.
I’m sure there are plenty of sites tha offer textures but if you learn how to work with Photoshop, you will be able to create them yourself especially with the aid of your own photos.
Bill O’Neil
https://chicagospots.com -
April [April Henderson] “did you reassemble them in AFX into 3d objects, the way a person could take 6 layers and make a cube in AFX.”
Exactly. I sized the set pieces in Photoshop so that they would assemble easily in the 3D world.
[April Henderson] “How about the stage surface? It looks awesome and unbelievably real!!”
The stage is just a texture that I shadowed, tiled, beveled and added the Big Ten logo. The logo actually flashes letter by letter. The stage has 2 tiers and a rail toward the rear. The more details the better in creating the illusion.
The stage lights pointing up are simply colored gradients in the shape of a cone that I placed along the perimeter of the stage. I flashed them on and off using opacity keyframes.
You can find the spot on my website or here on the Big Ten tutorial page.
Thanks for the nice words. I’m always happy to share tricks with everyone!
Bill O’Neil
https://chicagospots.com -
There were no 3D plug-ins used in creating this world. The beveled stage is a flat layer as with everything else in the scene. As I have mentioned in a few tutorials here, that shadowing is what makes it look real. I created most of the stage shadows and small details in Photoshop for each set piece.
The video screen appears concave because it is broken into 4 layers and arranged as such.
An athletic camera movement forgives many of these fake 3D set pieces.Bill O’Neil
https://chicagospots.com -
I answered my own question by sifting through aspect ratio posts and found “ReStream”, a free utility that changes the flag of the MPEG2 file. It worked great!
This from Bob Cole:
Mpeg movie footage carries a “flag” which sets the aspect ratio. This flag may be observed and reset with freeware such as ReStream, available from the second site listed at https://www.videohelp.com/tools?tool=Restream— BC
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Thanks, Roland! I can’t remember all the time I put in on the various tasks but I think it was a couple of weeks altogether.
I shot both year one and year 2 in one day on the green screen stage. We had Talib Kweli just change outfits for year 2.
The Photoshop work to build the individual pieces took a few days. I probably took another day to create pre-rendered clips in After Effects such as the audience layers, and animated light racks.
Building the actual set in AE from all the pieces took the longest amount of time. With all the duplicate set pieces there were around 250 layers. Once the set was constructed and all the appropriate layers parented or “expressioned” to the null layer, it was just a matter of creating the shots from my green screen edit.
This entire world would probably have been easier to do in a 3D program but I have always been too busy or too lazy to really dive into 3D.
Bill O’Neil