Cory Petkovsek
Forum Replies Created
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I think you want an inverted alpha channel:
https://www.videocopilot.net/basic/tutorials/04.Keying/You should also do the rest of Andrew’s basic training.
https://www.videocopilot.net/basic/Cory
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Cory Petkovsek
Corporate Video -
Although you mention not wanting to spend any money, you did mention turning live video into water color.
Red Giant Software has an effect called Toonit.
https://www.redgiantsoftware.com/products/all/toonit/Look at the examples page, last one is water color. You can tweak many settings. You can even get a trial version that may allow you to complete your project.
Without such a thing, turning live action into watercolor is going to be challenging. You have to turn realistic shading into flat, cel shading. You may also need edge drawing if you want that look. Either one requires some advanced programmatic edge detection.
Cory
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Cory Petkovsek
Corporate Video -
Rather than using a layer style drop shadow, duplicate the layer twice and turn them both black (same shape, just black). Move one down and right a few pixels. That’s your shadow. The other use as an inverted matte for the offset one so that the only thing that is visible is the offset sliver where the two layers do not intersect. You might need to turn the masking layer white, but the concept is the same.
That way the white opaque shows the background, but still has a black rim to act as a shadow. You can of course make the black rim layer semi transparent as desired.
Cory
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1) This is always a challenge when working with friends.
2) In some states, like california, non-compete agreements are unenforcable. https://en.wikipedia.org/wiki/Non-compete_clause
3) You have no business nor personal agreement with your producer/friend now. So she has no say over whether you work for PBS or not. However she does have a say over whether she continues to provide you work. So from a business perspective, it’s pretty clear that if two clients are conflicting, you work with the one that provides the greatest benefit.
4) I expect my subcontractors to not steal my clients, so I understand. When I start working with them, I make where I stand clear. I would stop working with a sub who stole my client.
If I were you, given that the workload from her is low pay and minimal, I would continue working with PBS and tell her:
– you are happy to continue working with her
– will not actively seek to steal her clients
– will not turn down work if a client actively decides to stop working with her and seeks you out
– will not sign a non-compete agreement (or if illegal or unenforcable in your state blame it on the law: “non-competes are unenforcable here”)If she decides to not work with you, then you got an upgraded client. If she does, then you have a clear working relationship, and you have two clients.
As for doing business with your friend, that is always laden with the possibility of destroying your friendship.
Cory
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Cory Petkovsek
Corporate Video -
That hardware is more than fine. Even Windows 7 Home is fine unless you need the advanced features. Just make sure you get the 64-bit version.
https://windows.microsoft.com/en-us/windows7/products/compare?T1=tab15 -
I have a sony vaio with a core2duo 64-bit processor, windows 7/64-bit and 4gb of ram, circa 2009. It works more than fine. Anything more than that is fine.
Cory
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If he is including it into another piece to be rendered again, then you want an intermediate codec, not a delivery codec. PNG will work but will be unnecessarily large. Use what I suggested.
Cory
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So export 10-bit dpx. Interpret the footage as redlog before export. Make sure your comp is 16-bit. Really you don’t need AE to do this and you would be better off exporting 10-bit dpx out of redcinex with redlogfilm. But both times I gave you an answer to work with in AE.
Frankly your colorist should be telling you exactly what he wants. “redlog” is only a portion of what he should tell you. But perhaps he assumes you know to deliver it in a 10-bit dpx sequence. An exr sequence is also a good option. Outputting uncompressed is unnecessary.
Cory
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Do you want a final delivery codec for display and presentation? If so, use h264 in an mp4 container. Or do you want an intermediate codec for more editing before final delivery? If so download Avid’s quicktime LE codecs and use the DNxHD codec in an mov container. Load the codecs on both the pc and mac system.
Cory
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A common workflow is:
– Load the r3ds in redcine-x (latest beta).
– Export with color space: redcolor2, gamma space: redlogfilm (or redlog if he wants, but redlogfilm is better)
– Export into a 10-bit dpx, or 16-bit openexr sequence
– Import the image sequence in AE.An alternative that is simpler, but may not provide as good of results is:
– Load the r3ds directly in AE
– Check “preserve rgb” (interpret footage dialog)
– Interpret how you like (more options button in interpret footage dialog).The reason the latter is not as good is because red has released their newest color science: redcolor2, redgamma2, and redlogfilm. However this has not made it into the AE code base yet. Once it has, exporting from redcinex first is not necessary for best color results; but still may provide performance benefits.
Cory