Chris Wright
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Audio Coin
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COW Coin
Forum Replies Created
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I’m confused by your post. When you greenscreen someone and place a background behind them, the background stays exactly how it is. Usually people have the exact opposite problem of wanting the background to move relative to them, using markers/rulers/math software, plugins to create virtual camera moves called “solving”. For instance, Trapcode Horizon will take a picture and move it in relative space to an AE camera and Bonjour will figure out 3-D moves from actual film footage.
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For it to work easily, you would have had to setup it up a certain way in the first place so that you could simply take precompose glow #1, precompose glow #2 etc. and set them as adjustment layers with the adjustment layer button turned on – all in a new comp for any new graphics.
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did u set it in the master comp or settings of each of the individual comps?
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1. Use a pencil drawing plugin inside 3DS Max itself. You won’t have to render full quality, just enough for the plugin to work its magic.
2. use file scavenger to recover your deleted files and use
this free program for pencil drawing once you have rendered to an avi.
https://compression.ru/video/cartoonizer/index_en.html3. buy a pencil plugin for AE like DigiPaint.
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timestretch it then precompose that and then u can drag the precomp to be longer and access the timestretched video.
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Avid is setup to “draft” mode. In Avid, on the lower left of your timeline, is icon that is sometimes yellow, sometimes green, and sometimes split. If that’s yellow or yellow/green, that’ll lower the resolution of the final comp.
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Here’s how to set frames to be shown per time. It starts at 50% so just do it twice like the video says. It uses strobe and timewarp whole frames so there’s no blur or ghosting. Great tut that can be used for stop motion.
https://maltaannon.com/articles/after-effects/slow-motion/
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composition settings->
advanced->
checkmark Preserve frame rate when nested or in render queue -
4 clicks and I got a mostly perfect key in primatte considering the footage. If I were you, I’d buy it, keylight was designed for Star Wars/Harry Potter, quality studios, not single-light dv work.
Even though there’s no spill, try using keylight’s spill sponge anyway. It will help with the blocky grain.
Did you use any gain boosting in camera or software? That could be causing grain. And shoot 1/100th shutter, not 1/60th.
The green brightness should cause even squiggles on the LCD. For furthur reading, search in the forums here about light meters, junk mattes etc.
best read I’ve seen is here.https://generalspecialist.com/2006/10/greenscreen-and-bluescreen-checklist.asp
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“When I brought the project to my system, the composition looked significantly darker so much so so that it is unreliable for me to work on.”
Luckily you did tests yourself, so you know from the get-go, that settings on your computer do not match. Each file has an interpret color management plus AE has blend color, legacy colors, etc. all these plus you need the exact same codec versions, gamma calibrated monitor…
plus how you are viewing them back out. Quicktime player preferences could be different too. Use your scopes rather. Do a full render-loop, export/import file, with no color changes, there should be no change in gamma. That way tests for a correct color management setup.
Once you have that nailed down, procede, with care, comparing each new cut to the other computer. Some people test with PNG’s because they have in-file writable gamma protection.