Blaise Douros
Forum Replies Created
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If you used something like Telestream Wirecast, you could have them remote in on the Wirecast mobile app, and record the output to your local disk. This would give you the benefit of coaching them on lighting and camera placement. Otherwise, something like Dropbox or WeTransfer will probably be your best bet.
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This could be related to where the media cache is set. If each machine is having to rebuild the media cache for each project, that might cause some of your issues–if you set everyone’s machine up to store the media previews next to the project files, then you may eliminate that issue. Might be worth a try on one project to see if that solves the problem.
It’s a drag to clear the media cache that way–you have to periodically search and delete all the .pek and .cfa files–but it can eliminate some of the pain points of having local media caches on each machine.
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This is where all the handy camera tracking tools come in. You can’t create the C4D camera angle until you get your reference footage, perform camera track, and key out the background. Make sure you’ve logged the camera settings (focal length+sensor size so you can calculate the correct virtual camera to match). Then you generate your C4D scene based on the tracked movement of your real scene.
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As I said in your previous post, your physics here are just plain wrong, which is why this doesn’t look right.
There is NO BLOOD SPLATTER on the entry side of a bullet wound. The exit wound is where blood splatter comes from. I am speaking from experience of editing hunting films, in which I have watched many real bullets go through many real animals. Yes, I know this is a weird qualification to flex, but it is oddly relevant here. I won’t link to them, but go search something like “hunting kill shots” on YouTube to see what I’m talking about.
Handgun bullets sometimes don’t even go through-and-through, so maybe this bullet didn’t, either.
In this case, even if you got the physics right, you are probably spinning your wheels, because the left of the frame where the blood splatter would actually appear is very dark, making it nearly pointless to even insert it. Frankly, I think that you and the director are overthinking this shot. It’s dark. You can barely see anything anyway. Forget the blood splatter in this wide shot. If there’s a close-up of the actor afterwards with blood on his shirt, the audience will get it.
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It will probably pull down better to 24p at normal speeds, but when you do a frame-rate conversion to 40% speed, it will not look as crisp–there will be too much motion blur at 1/60.
Generally speaking, the other method I’ve occasionally used is to film at 120p, use frame-blending on realtime shots, and then at 120p 1/120 shutter, it starts getting crisp enough to work.
My vote: shoot some test footage. See if the 1/60 shutter works for you. That’s really the only way to be able to tell.
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I would love to, but I’m up in Northern California–if I’m in the area, I’ll look you up!
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Oh, don’t get me wrong, I am not criticizing–I am a huge fan of vintage lenses and wild-a$$ adaptation setups! I’ll never fault anyone for finding a way to use some of the great glass that is still out there. I’ve got a great set of Yashica MLs that I have a truly unreasonable affection for.
Mainly, I was just curious, since the FD->EF flange distance issue is, ya know, the one that created the big dustup when they made the change in the first place. Most of the folks I know are going FD->E because of the ease of adaptation, so I was curious to know if the results were good.
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Is this basically the opposite of a speedbooster? If that’s the case, it seems to me like you’d lose a stop of light in the optics to correct for a longer flange focal distance, thereby creating a larger image circle. Higher ISOs are getting pretty clean these days, so that may not be a big factor.
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Part of the issue is that you’re trying to composite in an element that is not right for the scene. Blood doesn’t make a little floaty dust cloud at the impact point of the entry wound.
In fact, there would be no blood splatter at all on the front of the body. On a through-and-through shot, you would get blood spray from the exit wound; the entry would consist of a small hole. Sometimes you can see a ripple of impact go through the soft tissues, but there is basically never a blood spatter from the entry wound.
Source: I edit videos for a hunting company, and have watched dozens, if not hundreds, of clips of game animals shot with a variety of weapons. It is an oddly specific and grisly area of expertise, but apparently is useful knowledge today.
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You could create a larger-resolution pre-comp, with a centrally-located box area the size of your final comp. Once you’ve animated everything, nest that pre-comp in your main comp.
Beyond that, you can’t see content outside the canvas in After Effects.