Cory Petkovsek
Forum Replies Created
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Don’t let him scare you. You should not have handed over the raw footage. Hopefully, it was only a copy.
It sounds like you and the artist are on the same side. Depending on what the artist signed with the manager about their deal, the manager may have nothing, or he may be able to prevent you from marketing the artists video.
If the artist never signed anything with the manager about any management deal, then the manager has absolutely no claim, nor right to even display the video.
You should review the artist’s contract if there is one. Look for any exclusivity clause barring the artist or a 3rd party from promoting the artist. If there is none, then you and he can post the video as you like; it’s your video and his likeness, which he is giving you permission to distribute.
Note that anyone can take anyone to court. That is part of our justice system. But that doesn’t mean they have any claim or any hope of winning. This guy is clearly manipulating you because he can. You’ve shown yourself to bend to his hot air. Don’t be afraid of him.
If the threat of legal action is real, or if the contract the artist signed is restrictive to your promotional efforts, talk with an attorney about your options.
Document all contact with the manager. Date, time, subject of each conversation, and any time his behavior is anything other than civil.
Cory
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Cory Petkovsek
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I assume the circle is a path in 3d space right?
Why not make an arc instead of a circle?
Or make a spline that is straight, arc, straight. Then mask off the straight parts and the edges of the arch so as the text flows into the arch it becomes visible, then invisible as it flows off the edge.
It looks like this from top view, except round:
------- -------
\ /
\ /
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Cory
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Cory Petkovsek
Corporate Video -
The technique isn’t complicated and has been discussed in tutorials and posts here.
– Go to a frame to be frozen
– Export in photoshop/graphics editor
– Remove the background, leaving only the subject
– Add that as a new layer to the composition
– RepeatFor added effect, which is done here, use something like the AE puppet tool to warp portions of the frozen layers.
Cory
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Cory Petkovsek
Corporate Video -
Create a matte painting.
Tie it to your shot with tracking.This is called a set extension. This tutorial adds a castle to a scene. However you can use the same technique to add “nothing” to a scene to replace your stuffed animals. I’ve done this to remove shadows, or to clean up nasty looking walls behind my actors. In this case your matte painting starts with a single frame from your source footage. Remove the stuffed animals in photoshop. Take only the pieces you need to patch the image, and leave the rest transparent, then bring it in to AE. Follow Andrew’s tutorial.
https://www.videocopilot.net/tutorial/set_extensions/
Cory
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Cory Petkovsek
Corporate Video -
Flash 9r3 and above supports h264 and aac natively in an mp4 or f4v container. Any encoder that gives you that should work directly in flash.
If the video background is black, you will see black on the display whether through a browser or a video player. If you want it transparent, then you need to encode it with an alpha channel in vp6 in an FLV container put the flash swf into transparent mode in the web code. You can create the transparent FLV in either AE, or by encoding an avi with flash. This can be an ordeal the first time you do it. It’s simpler to use a matching color.
Make the video/comp size the size specified by the web designer. 100-200px tall is fair for a logo.
Cory
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Yes AE will be able to do it for web just fine. Your final delivery should be in srgb, h264/aac in an mp4 container. Flash can read this natively, so you either use a flash video player, or incorporate it into a larger flash project. Using the built in adobe h264 encoder will give you sufficient, but mediocre results. A better h264 encoder like x264 will give high quality results.
Cory -
That would not be “blending”. That would be adding or subtracting masks. Import the illustrator file as masks. Set one to add, the other to subtract. You may also need to import them both as layers and masks. This probably isn’t the only way to do it either.
Cory
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Cory Petkovsek
Corporate Video -
“[Eren Esgul] “It works, but not satisfyingly enough especially considering the effort it takes. :)”
[Joey Foreman] I’m sorry, but getting good results from AE requires effort.”
So you pick up a paint brush for the first time and you’re not already a master?
Cory
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It’s also color graded. You need a great camera with high latitude, high resolution, a flexible recording codec (like red raw) and great lighting as Joey said. Then the colors are manipulated in post to produce the effect. 300 has a severely modified color palette and gamma curve which gives it that surreal look.
Cory
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[Max Jackson] “What I find interesting is that in that video posted the guy only had a total latitude of 4 stops.
Not quite. The canons have 6-9 stops of latitude, depending on who measures them (naturally questionable), lets say 8 stops. They used two cameras in order to stagger those 8 stops; two above normal, two below. Thus they came out with 12 stops of dynamic range, then tone mapped it down to ~8 stops for delivery.
The Red One will give you 11 stops of dynamic range natively. Film can give you 11-15+ typically. Red Epic in HDRx mode can give you 18.
What I learned from a separate tutorial is that it’s important to have 32-bit float to be able to have deep luminance information beyond a simple 8-bit rez.
Your delivery codec is going to be 8-bit, and thus ~8 stops. During render, the DR will be either compressed or clipped into this window.
If you work in an 8-bit color space in AE, then AE will automatically throw away color information before you can even work on it. By working in a 32-bit space, you have all the color information to work with, and can control what is thrown away and how (by using the color grading tools) when exporting to an 8 bit delivery codec.
As David said, if your source footage is 8 bit, as from a DSLR, working in 32-bit usually doesn’t do much for you. However if you are working with a 12 or 14-bit red raw codec in an 8-bit space, you’re wasting the time and money you spent on Red.
It’s a bummer that a high-end DSLR can’t provide that high of a rez for broadcast level output. I would think HD is HD. ?
“High end DSLRs” are high end still cameras that happen to take video. The professional 1dm4 is a great, professional still camera, but it’s a consumer class video camera. Their effective resolution is about 500×500 pixels delivered with hardware aliasing into a video codec set at 1920x1080p. HD is more of a marketing term for them.
Sony and Panasonic make real HD cameras that can deliver truer 1080p (measured at >800 lines of effective resolution) at ~8-10 stops of DR.
Red One blows away HD, delivering 4k (4,096×2,304). Red Epic delivers 5k (5,120×2,700 – 32% more).
You would pick red for either high dynamic range, or resolution, or those plus shallow depth of field, or the raw codec.
Cory