Derek Boettcher
Forum Replies Created
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Yeah, its pretty simple.
Make the opacity of the top layer 50-75%. That way you can see through the top layer and be able to match up both.
You could also purchase plural eyes 2 which will automatically sync using the audio tracks. Never used it but had heard good things.
Best,
Derek Boettcher
Creative Management
BTH Media Group
https://bthmedia.com -
use either the 3d camera tracker or Mocha. The 2d tracker won’t give a good result. Here is a few tutorials detailing how to use these: https://www.youtube.com/watch?v=xiemS_DLKF4 (3d tracker)
https://www.youtube.com/watch?v=OnvtT620sFg (mocha)Best,
Derek Boettcher
Creative Management
BTH Media Group
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Oh sorry, it was toolkit. But in any case looks like they changed their format (probably for the better). https://www.digitaljuice.com/ check it out, you may find what you are looking for.
Best,
Derek Boettcher
Creative Management
BTH Media Group
https://bthmedia.com -
here you go. sometimes I like to bring my footage into premiere for color correction so I can use the histogram in the reference monitor. Basically you needed to crush the red and green highlights. Red by 2 1/2 “squares” and green by 1.25 “squares” on the curves graph.
Best,
Derek Boettcher
Creative Management
BTH Media Group
https://bthmedia.com -
Well, maybe.
Here is what I would try: Duplicate your background footage, place it as the top layer. change the transfer mode to screen, then add a box blur to it and blur it out. Add a subtract mask where the porthole is and feather it out. Finally change the opacity to make it look more like a highlight. You can then precompose that and try adding a displacement map and parent the light layer to ship window to make it look like it is distorting around the objects there.
I would also probably flip the image so that the light hits the opposite wall when it comes into view. That’s the only thing I can think of to “automate” something like that.
Best,
Derek Boettcher
Creative Management
BTH Media Group
https://bthmedia.com -
Use Keylight. It comes with After effects. For screen color choose the white background (as you are probably aware). Use the alpha bias and select the dog’s fur. Then go to view and select “Combined Matte.” It will change to a white/black/grayscale. Next go to screen matte, and play with the clip black and clip white, and the despot black/white options. If you are still not happy with the key, go to the screen color, click on the swatch to open the color menu, and then vary slowly drag the color lighter or darker to see if that helps get rid of the remaining issues.
Best,
Derek Boettcher
Creative Management
BTH Media Group
https://bthmedia.com -
But if you really want to use motion tile here is the workflow:
Create a comp 2x the size of your footage. Add the footage to it, and then put motion tile on the footage. Adjust your settings. Next make a comp the intended output size, and place the first comp in it as a layer. Apply the warp stabilizer effect, then choose stabilize only.
Best,
Derek Boettcher
Creative Management
BTH Media Group
https://bthmedia.com -
it may just be easier to create them yourself, or hire someone to make it for you. That way you can get everything you want in the graphic and be able to use it indefinitely. What type of “explainers” are you looking for? There are some websites that produce products for guided tours of software and sites, but that would still be a per client basis.
You need to look at it from their point of view: They want money for their effort and if you want to use it more than once, then you need to pay them more money.
Now that said, look at the “Editor’s toolbox” that is a series of DVDs with different transition effects and backgrounds that you can buy once and reuse.
Best,
Derek Boettcher
Creative Management
BTH Media Group
https://bthmedia.com -
The warp stabilizer effect already has “synthesize edges” option. It is under the Borders>Framing drop down. Just twirl it down and select it, then the options will un-gray in the advanced section. I would also suggest doing a detailed analysis. It takes longer but often provides a better result.
Best,
Derek Boettcher
Creative Management
BTH Media Group
https://bthmedia.com -
Some tips: if you are using greenscreen for the actors (recommended), if you can get away with it, put the greenscreen like 8 ft behind the talent, pull it tight to remove wrinkles, and then adequately light it. With it being so far behind the talent it would help prevent green spill (which can be taken out in post, but is a pain if you’ve never done it before). I would honestly shoot a lot of this in multiple takes and actually cut a whole out of the bottom of the doritos bag for the guys hand to grab her and pull her in. Clever camera placement will be your best friend. Also, when he pulls her in, consider doing that with 3 shots (your bg slate, the hand in the bag, and then perhaps her doing a fall forward (like she is being pulled) then after you separate her from the greenscreen use the puppet tool to get her to fit in the bag (be sure to use motion blur). It may be just simpler to imply that she was pulled into the bag and show her head in his doritos bag eating his chips or something. You don’t always have to do VFX, sometimes just good camera placement or simple compositing is all you need.
Best,
Derek Boettcher
Creative Management
BTH Media Group
https://bthmedia.com