Brendon Murphy
1
COW Coin
Forum Replies Created
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OH, and NEVER put green tape or physical tracking marks on the glass. You want to keep those real reflections so that the end result looks real!
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Is it just the screen/burn-in you are replacing?
Use a real phone with a Digi-green on it. It can be as simple as a full-screen image, though there are also apps that can lock the green in place so the finger doesn’t swipe it away… Motion Picture Color Generator is a good one for iPhone.
If your shot is wide enough to see the corners of the phone, no tracking marks are necessary. You only need them if you are so tight that there’s nothing else to track. If you DO use tracking marks, I recommend small squares that are fairly close to the color of the background. This reduces the amount of clean up work needed afterward to paint them out. Do not place them near the corners of the screen since you can already track the corners . They are more useful closer to the center of the screen for when you lose the corners in-frame.
Adjust the brightness of the screen to something like 50 IRE. That’s usually a good starting point for having a screen that looks illuminated without causing more spill than necessary.
For any shots where you don’t see the screen (like a reverse shot of the actor looking down), make the screen white so there’s no unnecessary spill.
Put a case on the phone if logo/brand clearance is a concern. Not a green one!
Some subtle reflections on the screen can help with realism and don’t necessarily need to be avoided. However, avoid a reflection that is so heavy it would obscure the graphic you’re adding.
Hope that helps!
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Pick whip the “linked object’s” scale to the scale of the driver object. Add this to the end of the expression field: *.75
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Have you tried:
-Unmult to remove the black BG
-Then use a levels effect to tweak the alpha channel… you can easily clip the transparent areas this way. This can be on an adjustment layer, or you can use an effect mask to localize the adjustment.
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Definitely use a precomp that’s the correct height and width to wrap around both sides of the building (might take trial and error to get the size right). When you get to the corner, mask out the part that’s hanging off and then move your layer’s anchor point to the corner. Then you can add the other half by duplicating the precomp, subtracting the mask, and rotating the layer on Y.
So on the building you’ll have two instances of the same precomp.
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I don’t know exactly why this is happening, but AE actually has a built-in method for defining a new track feature. Just hold alt and you can slide the track box to a new area without affecting the previously tracked frames.
Also, you can select a group of track keyframes in the timeline by twirling down the layer’s properties.
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Have you tried adding the desired composition to your render queue within After Effects? I normally queue up the comp in AE and then use the button on the queue to send it to media encoder.
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Interesting – I have never noticed the issue with Lumetri scopes. For compositing I tend to rely more on the info tool.
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Roei,
It’s definitely tough to find good info on this since many Vfx houses develop proprietary workflows to suit their specific pipeline needs. That said, here’s a video that should give you a good idea of how to move forward:
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Assuming you have figured out a method for wiggling the transparency already, precompose the text. Split the precomp a few seconds after the start to make a “start clip”. Move the start clip to the end, and animate the opacity so that the start clip is what you’re seeing by the end.
You’ve now got a perfect loop!