[Jamie Coote]

Thanks! Unfortunately they’re not at all identical (two power windows, changing shape on almost a frame by frame basis to follow two faces).
I can see I was a bit unclear, but actually I’m only working in one node (AND all the clips have the same number of nodes). Frankly I would’t mind ripple changing all my power windows if that’s possible??
I’m pretty new to DR, so naively I was expecting a parameters drop down in the key frame timeline, like in after effects. While I’m at it, do you know if/how I can animate opacity (like in AE).
Cheers!

[Jamie Coote]

Hey Robert,
Just wanted to ask if this ever happened! I need to do exactly that – add 10% softness throughout!
Thanks

[Jamie Coote]

Little correction, I said ‘Masking’… I meant ‘Power Window-ing’!
=]

[Jamie Coote]

Thanks again Chris, I’m super grateful and it worked flawlessly!
Just one last question! How can I choke the white feathering around some of the edges (though it only really shows up if I use a crazy colour for the sky)?
And if you ever need a DOP in Paris or London, I’d happily be your man.

[Jamie Coote]

Thanks so much for this! I wish I could see how good it looked but I can’t work out where to put the actual footage amongst your layers?!
Sorry for the noobness!

[Jamie Coote]

Wow, that’s looking a hell of a lot better. The multiply works a treat for the sky but darkens everything else quite a lot. Hence I tried the luma matte solution, just to check……
Layers are
1 – footage with blacks/whites crushed (layer invisible)
2 – Sky on multiply with layer 1 as its Luma track matte
3 – footage
This rectifies the darkness but causes that white featheriness around the tree.
What am I doing wrong?

[Jamie Coote]

Thanks for the speedy reply! The track is simple and I’ve got that working well, it’s the areas around the tree branches and bridge that just look horrible. I just can’t get the detail to come through. I can do it in PP because I can refine the sky selection perfectly but there isn’t that dexterity in AE (or at least I dont know how) especially with the camera move as the selection changes so much.
Can you explain how you would matte to preserve the trees?
For the sky removal I’ve tried- Extract, Keylight and Luma key. For the Matte- Refine Hard/Soft and Choker. Whatever I do something spills over or looks mad and lumpy or mushy (technical words, I know). Nothing looks good and I can’t face masking and key framing the whole thing as it’d take a lifetime with that bridge!

[Jamie Coote]

FANTASTIC! Thanks, I’m glad someone sees the C500 as a better solution than the Epic. Even though I’ll need to get a Gemini 4:4:4 recorder, that still better than thousands of euros of SSDs and the RED reader. I think I’ll rent a C300 first, to familiarise myself with the controls (maybe shoot one of the shorts on that) then get the C500.
It’s funny you mention the work in persuading people away from the Epic, though it’s my call on how to shoot it’s be great to know what to say. Other than the practicality of the system could you bullet point me some advantages?
Thanks again!
J

[Jamie Coote]

Thanks, that really helpful!
If I was to invest in an EF mount for something like the Epic would that surpass the C500, I cant find any real comparison? And as far as extra bits you need to actually use the camera I’ve read that the Epic is just absurd and I would need to almost spend another 10k on extra stuff, I’m also worried about the weight (I guess the Epic would be far too heavy for my Glidecam 4000) and the last time I was on a shoot with a Red it was the Red One and we had a 5 man crew (plus dolly etc) just for the camera. Then again, would I have a weight problem with the C500?

I’m very curious as to the difference between the Original Epic, the Scarlet and the Mysterium-x, I wasn’t expecting anything Red to be in my arena, but I’ve seen some relatively small rigs using EF glass with very impressive footage on youtube. But again I cant help worrying about practicality and also the work flow in post, I really don’t want to have to buy a new computer too! Have you ever worked with Raw 4K on a Macbook, is it even possible!?

I hadn’t even considered anything from black magic (as I thought they were a bit of a gimmick). Obviously the price difference is huge but would I be better off with that, as I could certainly use my existing rig with the Blackmagic body. Though the slow motion capabilities of the Epic (like with the FS700) are very attractive and I don’t know if the new Blackmagic will be able to shoot 225fps.

The C500 and the Epic are about 1200/week, the new Blackmagic will be less than 300/week, if they are even comparable I’d buy a Blackmagic (I mean a GoPro is 150/week)!
I also keep going back to the Sony FS700 (even though I’d need to wait for the 4K) as that’s about 600/week and the EF mount is not that expensive.

There is far too much choice, C500 vs Epic vs Blackmagic (vs FS700). What would you go for?
I’m shooting three shorts and two features this year and I wanted to test cameras on the shorts (one for each, using a 5DIII on the first, then build up). Price isn’t really an issue as it’d only be a week for each and I think we could stretch to an Epic or C500, but would there be any point?

I am so confused!
Thanks again for the help!

[Jamie Coote]

Do you have any idea how i could get round this problem (other then manually doing it with an eraser)
Thanks
Adobe should seriously think of adding that as a feature, i doubt it’s only me who’s fine it really useful