Chris Smith
Forum Replies Created
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I think that was done in an app that has nothing to do with post production. It’s probably some shareware Open GL program that you input pictures and it does that effect. Just like iTunes 7 does with album covers.
But if you want to do that in AE it’s pretty simple. For the reflections, just duplicate any of the picture layers and flip it upside down, put it “butt to butt” with it’s original. Then drop the opacity on it to about halfway. Then put a square mask around it, but have the one part of that square mask cut across the picture. Then feather the hell out of the mask. This will make the “reflection” fade off as it get’s further away from it’s original. Lastly you can try a slight blur on the reflection layer, although you may want to keep it crisp. Parent the reflection layer to it’s original, then lastly place all these pairs in 3D space in AE and parent all the originals to a null that you can spin around a static camera.
But I still think it’s a simple program that does it for you. Apple’s dropping one built into the next OS that will give you those kind of options very simply using it’s coreImage technology.
Chris Smith
https://www.sugarfilmproduction.com -
For a quick version, you can speed up your clip (obviously) then run it throgh the echo filter and tweak that until it’s smeary. I predict the superman effect uses “optical flow” which is built into a lot of the Re:Vision effects like twixtor and most noticably Re:Vision Reel Smart Motion Blur.
Chris Smith
https://www.sugarfilmproduction.com -
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You can try the AE color stabilizer but I predict it won’t magically solve your problem. I would more come to terms with the look of the HMI flicker. Is it really that bad? Sometimes it can look cool in that Fight Club kind of way, but obviously depends on it’s use and subject matter. What frame rate did you shoot at that caused the flicker or was it a bad ballast or something?
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My vote is pick the cheapest.
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Well I have to throw SOMETHING of substance into a post instead of implying one should read the manual all the time 🙂
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This tut will show you the process:
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To me having a brighter paint means you don’t need to use as much light which can help you get a smoother result. I mostly shoot grn but when using blue, what helps the DP and gaffer get the lighting smoother is to set the video assist monitor in “blue only” mode (typical on any Sony monitor). Then turn the contrast knob all the way up and the brightness way down. It will make the monitor then show the screen as a dark greyscale where it clearly shows you the dark and bright spots.
Also I keep the talent Waaay away from the BG. I always use the biggest stage the studios have and make sure the FG element isn’t remotely close to the keyable area. Then we usually light the screen with a bunch of diffused Skypans and some Kinos here and there. That way there is minimal chance of spill and it puts the screen in another focal plane putting it more out of focus making it smoother.
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Either will work fine. The goal is to have it show as close to 0,0,255 (in 8 bit space) after it’s sampled into AE. I would worry more about lighting it right than anything. Besides when your film is transferred, your colorist can balance the image so the blue is as pure as it needs to be. Which may throw your FG elements slightly off color, but after being keyed they can be rebalanced. But the most important thing is that the key color is distinctly different than what you want to keep.
So in conclusion, I would pick what ever color is the cheapest to paint the cyc, then have the colorist color the film to look good for your FG subjects and I’m sure your blue will easily be in the ballpark for a good key as long as it’s lit well and at a good exposure.
I did a grnscreen shoot a couple of months ago where I needed to paint the entire cyc due to large scale shots. “True” chroma key green paint was insanely expensive, so I used a third of that mixed into “Common” bright green paint which was a tiny fraction of the cost. The key was great.
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I gotta say, for a digital solution, that is one of the most unique and well thought out ways to a watery effect, Roman. Not sure exactly what it looks like, but on paper, that’s a great idea to use a keyer on faded and I’m sure turbulant colors. I’ll have to try that.