George Goodman
Forum Replies Created
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Are you willing to go mac? After I did, I never went back 😉
My Macbook Pro 2.3ghz i7 with 16gb of 1600MHz DDR3 and solid state drive is a beast. Loving the retina display.
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Sincerely,
George
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So Luma key is good BUT you that blue and yellow look a little similar in luma to what you want to get rid of. I would recommend the extract filter. Get rid of your whites, and then isolate your blue channel and get rid of that blue. It may get tricky around that yellow area though since it is so similar to the color of the animal itself.
If the camera doesn’t move, just mask out that floor area to get rid of the reflection. That could save you some trouble.
You could always try to roto it as well, but that’s not really my area of expertise, so I can’t advise you too highly there.
Overall, I think it’s going to be a pain :/
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Sincerely,
George
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Just separate the adjustment layers. Do a fill adjustment layer below the blur adjustment layer. Feathering the mask on the fill layer may help a bit, but imo (and without having seen the image), it’s unlikely to be a better look than just having the blur.
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Sincerely,
George
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you could just use an adjustment layer with a mask over the part you want it to affect.
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Sincerely,
George
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If you don’t want to do it with cameras (although renting a bunch may be affordable), here’s how you would do it:
https://petapixel.com/2013/11/19/creating-motion-stills-animate-photo-post-parallax-effect/
The first video gets into the tutorial towards the end. The second video is an example of a bunch of cool ones.
Basically, a lot of cutting out, cloning, and using a puppet tool to fake motion.
You can also create displacement maps like this:
https://www.youtube.com/watch?v=JzJohgzY4S0
But that can only be taken so far before it breaks down. If you want to travel a long distance, I’m afraid you’ll need the cameras like Dave said.
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Sincerely,
George
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Use a luma key or the extract filter
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Sincerely,
George
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Maybe just set up a null with your normal clock rotation, parent the hand, then use the inertial bounce expression on the hand itself with like a 1 degree rotation loop out that syncs up with the null object the way you’d like.
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Sincerely,
George
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I’m not sure of a way to keep it vector (as I’ve often wanted to), BUT I do have a solution that I use sometimes.
Make it big, I mean like really big. Make your comp like 10,000×10,000 and attach everything to a null. Scale that null up to fit the comp. Export it as a single frame TIFF sequence. Then take it into photoshop and resize the image by changing the dpi to 150 or 300 or whatever your specs (don’t resample the image!). If you do this right, your image will shrink in size, but the dpi will be high enough for print.
You’ll also want to change it to cmyk instead of rgb
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Sincerely,
George
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You could shoot the footage in a high res, and then scale it down. This way, you can create the push-in by scaling up. Then you just use a freeze frame for the first bit and photoshop or roto out the background. Notice there isn’t much motion on the subject until it changes? You can get away with that by adding particles and even using the puppet tool to move the subject ever so slightly. Then when you transition to the original piece of footage use whatever motion you want. Be aware of shadows as you remove the background though, you’ll want to make sure your lighting is consistent if you really want to sell the effect.
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Sincerely,
George
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I think this might be what you’re looking for:
https://forums.creativecow.net/readpost/50/861257
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Sincerely,
George