Blaise Douros
Forum Replies Created
-
Also, you’re going about this a really difficult way. Just use regular masks on the footage–make one for the van door, one for the guy’s torso, and one for each arm, and you’re done. The Rotobrush is overkill for your application–it looks like the same shot you’ve posted in another thread about masking in Premiere, right?
-
Mocha works well for this–it was built to handle that kind of thing. You could also use the 3D Camera Tracker, if there’s enough camera movement–given the nice visible grid, AE should have no trouble tracking the table.
-
In short, yes, usually–I would go that route if you’re having trouble with exporting an h.264 copy from the timeline, which requires a lot of time and compression. It never hurts to have a higher-quality master. Once you do, it’s easier to make an h.264 copy from that.
-
The Rotobrush isn’t as intuitive as you might think. It only goes a few frames ahead before you have to set a new keyframe–what you’re seeing is normal behavior for the tool. If you are trying to use it without some instruction, you need to pause, go look up a Rotobrush tutorial, and REALLY learn how the tool works.
-
This may be the most thorough and helpful post I’ve ever seen on this site. You should submit this as an article to ProVideoCoalition, or something, because it’s invaluable information.
-
eBay alert set. Now how do I delete this thread to keep more people from reading it? 🙂
-
Dang Todd, that is NICE. Probably best suited to studio, though, right? I tend to shoot outdoors a lot on non-level terrain, which probably necessitates individual leg adjustment.
-
Looks nice for ENG, maybe some corporate stuff. Most of what I work on tends to need the larger-sensor look, and I do prefer interchangeable lenses. But the footage looks nice, if I was still shooting all-in-one camcorders, I would look hard at this.
-
Normally, you’d adjust the aperture on the fly–true video lenses have a stepless aperture that lets you slide seamlessly between exposure values without the clicking you get in DSLR lenses.
One other trick is using a variable ND filter that you can ride to change exposure on the fly. Makes dark situations tough, but works well when you have enough light.
-
Remember that F-stops are not the same as T-stops, and there are a lot of factors in lens design that will change how much light is getting in. Your light meter can’t take into account the focal length, physical size of the lens (and other factors affecting the actual T-stop value of the lens), camera sensor sensitivity (ISO 100 means two different things to two different manufacturers), sensor size…the list goes on. Your histogram, or better yet, a waveform monitor, will be the best tools for you on-set.