Conrad Olson
Forum Replies Created
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Create a 1920×1080 composition in After Effect, drop your AVI into it and position it until you can only see the eye that you want.
Duplicate the composition, slide it the other way so you can see the other eye.
Render them both to separate directories/files.
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You can add a text effect to your layer and write and expression that changed the on every frame to display the frame number. I’m not sure if you could go further and get it to look up the frame name. I often to it when I’m working with re-time effects so I can get back to the source frame.
You can can work with the effect on and then just switch it off to render.
I haven’t used AE for a while so can’t remember the syntax of the expression but I’m sure someone else can help you out with that.
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Here is a video tutorial on how to use Mocha for a job like this. I haven’t watched it for a while so don’t remember the details:
https://library.creativecow.net/articles/larsen_carl/simple25d_rig_removal/video-tutorial
If you were to use the 3D tracked camera you need to project your clean plate onto the geometry from a static version of your tracked camera, stuck in the position it was at on the the frame that you painted. I stopped using After Effects before I learnt about this technique so I only know how to do it in Nuke
Here is a quick tutorial showing how to project in Nuke. You might be able to take this technique and use it in AE:
https://www.thefoundry.co.uk/articles/2009/12/01/97/nuke-production-workflows-rig-removal/
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And remember that when you shoot something on a wide lens you get a lot of lens distortion around the edges. If you add a subtle fish-eye effect to your render it will help.
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Depending on the camera move you could always try to track the floor in Mocha and use a corner pin to track the floor in place. Looks like an ideal shot for that technique.
If that doesn’t work then you need to camera track the shot and project your clean frame like Ted suggested.
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If you have the files in a program like Lightroom or iPhoto it will let you export a selection to a different format.
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Just go for a greenscreen and allow time for roto around the faces. If you try and get a key that covers everything you are likely to get nothing.
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I would use image sequences over QuickTimes, they are more flexible, and I would pick my image sequence based on the colour space that I am working in and that other elements will be delivered in.
If you are comfortable with converting to and from log colour spaces then you can get the same colour range in a log DPX file and a linear TIF but the DPX files will be smaller.
As far as I know decoding R3D files is very processor intensive and slow and you are much better converting the files to something else. I don’t know how much effect a Red Rocket card has or if it works in After Effects.
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I think most video encoding applications let you burn in details like that.
Personally. I would render each clip separately. When we have dailies reviews we tend to watch the same shot on a loop. It would be difficult to do that if they are all one clip.
So my workflow would be to render each shot from AE, then create a batch script that runs them through compressor or Adobe Media Encoder or something like that with the file name burnt in.
Even if you were using AE it would be simpler to script that burn in if you were only dealing with one shot at a time.
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You should have your edit locked before you start your VFX work so the shot is as long as the editor decided (usually with a few frames handles at each end).
There is no time limit taught to VFX artist but it is easier to get away with less than perfect work in shorter shots. Longer shots will take longer to do and will cost the producer more so deadline and budget might come into play but is should ideally be up to the director and the editor.
Remember that in general the obvious VFX work is more likely to be in action sequences, which are usually cut quickly anyway but there a loads of long VFX shots that you wouldn’t notice.
There are some really long shots in Avatar and this 5 min shot from Atonement is full of VFX.
4-5 seconds might be the average but it’s not a rule that’s been written anywhere.
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