Chris Smith
Forum Replies Created
-
If I had to pick one or the other, I would definitely go with Particular. Particular is open ended and extremely powerful. Particle systems especially great ones like Particular are one of the most powerful tools you can have in your toolbox. Whereas 3D stroke is a specific gimicky thing that has about run it’s course. Particles are a timeless thing becuase they can be used in so many different ways. Besides Particular, like you said, has effects that somewhat simulate 3D stroke (in a cooler fashion I might add).
Chris Smith
https://www.sugarfilmproduction.com -
side note, I couldn’t agree more with Phil about distance from the Greenscreen. The last thing I shot GS a month ago, my subject was 15 ft away. I also put my cam another 15 from the subject and shot on a long lens. I also use a touch of slightly warmed up rim light on the subject to help the edges.
Chris Smith
https://www.sugarfilmproduction.com -
[Steve Roberts] “Hmm … if he’s exposing at T2.8, and his meter reads T2 at the background, then he is underexposing it. Yes?”
That is correct. If his background is a 2.0 on his meter than the meter is saying that you would need to open the lens a stop to be able to expose that correctly.
If his subject is a 2.8 and his bg is a 2.0 then bg is a stop darker indeed.
Just like if you walked that meter in the sun and got a f64 it doesn’t make the outside almost black, but obviously bright as all get out.
Chris Smith
https://www.sugarfilmproduction.com -
Well the only reason you have a green screen is for the very edges. so the picture will have edges that conform to the frame. If the trackers are just inside the edges, use the same corner pin info on a garbage matte layer that is a touch smaller than your picture layer and set the matte comp to subtract from the keyers alpha. Because the keyer will still show the trackers as positive alpha. You need to add a matte over those to make them transparent. Since you already did a 4 corner track, you might as well use that data to move your garbage matte.
But as I said, I don’t think you’ll need tracking markers, And if you did, you would probably track by luminance so making them red won’t help unless you plan on tracking by hue.
Chris Smith
https://www.sugarfilmproduction.com -
If there is enough contrast between the frame and the greenscreen in the picture area, then you don’t need trackers. The corners themselves usually do a nice track. Then when you key the green you don’t have to do a separate matte to get rid of the trackers. Will the camera be pushing forward toward the pics or will it be a zoom (just focal length change)? If it pushes in, then you will probably get a nice moving sheen off the glass in front of the picture (or greenscreen in this case) you will want to preserve this sheen and lay it back over your comped in picture so it looks truly integrated behind the glass. If you paint tracking markers, then the dots get in the way and would have to be painted out. I talk to online guys who get pissed when we put tracking markers in a shot that already has trackable corners because it’s only more work for them to remove them.
Chris Smith
https://www.sugarfilmproduction.com -
-
You can light the screen at generally the same stop as your main subject. The idea is that when you sample in the film transfer, and get info on that greenscreen whithin AE, it should be as close to pure green as possible ideally (0,255,0).
But even if it’s a stop or two off, you can still usually get a decent key.
But the closer you get to pure electronic green, the more latitude there is to get a key from.
Chris Smith
https://www.sugarfilmproduction.com -
Welcome to transfer modes. Add the noise to a black solid which is on top of your picture. But instead of normal tarnsfer mode, set it to ‘screen’ so only the lighter bits of the fog show through.
For more info on the different transfer modes and there uses, check your manual.
Chris Smith
https://www.sugarfilmproduction.com -
Hey Ron,
I can’t get the tutorials page to load. Is it just me?
Chris Smith
https://www.sugarfilmproduction.com -
As a side note, all the curtainish flowy pink things were apparently C4D. There is a ‘how it’s made’ quicktime on belief’s site that is very cool.
Chris Smith
https://www.sugarfilmproduction.com