Jack Hilkewich
Forum Replies Created
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You would need to add something to your BG in order to show movement. If you pan a camera around inside of a completely white sphere you would not have any sense of movement because the bg never changes. But if the sphere had a few splatters of red paint on it then you would see the red paint move past the lense. You need to give the eye a frame of reference.
So ad something to your BG some noise, scratches, color gradient, etc something to give the eye a sense of movement.
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I do this slightly differently. I create the layers in photoshop. In AE I turn them into 3d layers and then position them so that there’s depth between the different layers then create a camera and just move my camera around. no need to scale or move several layers. You can also use DOF to get some nice looks.
The most time consuming part of the whole process, I find, is the work in photoshop. Cutting out the layers and then seamlessly cloning in the holes can be tedious. I like to divide up the photogaph into at least 3 layers usually more. A fore, mid and back ground layer at least. This will give you some nice depth. Also when cloning the BG always make it bigger(clone the edges out so that the picture is maybe 110% bigger) than it actually is that way you’ll have some extra room to do bigger moves and the camera won’t shoot off the edge.
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Could you do some sort of thing where by you crop out the lamp and put some sort of identifier “Name, Title” in the space left and then moving the crop back out when the lamp is gone? Not sure if it fits in with the style but some sort of treatment like that could work.
You could also try taking a still frame of video at the spot where the lamp is finally out then take it into photoshop and add some filters/masking out a shape to it to give it a look then use that still over the audio portion of the lamp shot with some sort of super maybe with the DOB and DOD supered some where on the screen. then transition from the still to video on the right frame.
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I loved it! The style was great, a little retro. I couldn’t have the sound up cause I was at work but from what I saw I thought it awsome. Must have taken a lot of work to do. How did you do the mouths? What was the process of doing the lip synch?
Keep it up!
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If it is ok to have the car in the shot then definitely do the plate thing. It is much easier to do. If you have some footage that has a muted color like grey in it and it’s relatively still, the cut out a mask in the shape of the plate over the grey area then use that as your grain source and lay it over your plate pic (or if you can shoot it on video that’s even better). Try different blend modes or keys to get the grain to match. The area is small and if you blur it out a bit and keep the colors muted it shouldn’t draw that much attention to it. The action in the foreground should draw the viewers eye away anyways.
Good luck!
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Yes, I should’ve read his post more closely. It would seem he didn’t want any vehicles there.
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Yes, I should’ve read his post more closely. It would seem he didn’t want any vehicles there.
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If it looks good in adobe encore and crappy when you burn it then I would think it has to do with the encoding settings in Encore.
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I would just do some slight blurring on the plate of the car, or motion track a fake plate on to it.
No sense in doing all that hard work when you don’t have to. You were shooting on a public street and I think as long as you blur out any identifying marks that will deal with any legal issues.
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Steve,
I’m not sure I would be able to decipher what the numbers meant and How I should use them. I have just ordered A new book on keying and I hope to learn a lot from it. Until then I am trying to get a handle on the whole keying process.
Thanks