Jason Diebler
Forum Replies Created
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You sold that really well. I loved that you had her hair blowing, and that you were able to get the shadows to be in the right perspective.
“The deepest blues are black” – Foo Fighters
(this doesn’t help me when I’m chroma keying!) -
I’ll add:
Check for most current updates
Lock groups that you’re no longer affecting or don’t need to reference as often (or bake and export finalized elements that are not likely to change)
Don’t run too many other open apps while in Motion
“The deepest blues are black” – Foo Fighters
(this doesn’t help me when I’m chroma keying!) -
Yes, I’ve seen that done. It will give you more pixels. But why not achieve your ws-ms-cu in studio, with a nice camera truck move or slow zoom? Maybe try it both ways, but it’s always better to zoom optically with your camera rather than digitally in post. As long as you remain on a solid z-axis, it should preserve the look you’re going for.
“The deepest blues are black” – Foo Fighters
(this doesn’t help me when I’m chroma keying!) -
[Mike Kraus] “Can I film the green screen presenters in HD and import that into an SD motion project?”
Yes.
[Mike Kraus] “Will the keying works better that way (in Motion)?”
That’s subjective. Motion gives you more tools for this, but if it’s a simple key, FCP is probably more user friendly for the job.
[Mike Kraus] “Will I be able to digitally zoom further in with less pixilation? Or do I have to be working in an HD project for that to be the case?”
Although you’re reducing your final image quality working in SD, you do have a lot of pixel real estate to work scaling in on HD footage. You can zoom in a good bit, but any digital zoom will certainly pixelate the more you scale in… especially if you’re going from “full body to face”. That won’t look so hot.
How are you delivering this?
Is this the case of an editor manufacturing close-ups the director never got coverage for? I suggest you storyboard your vision, so those compositions are created in camera, properly framed, so you’re not forced to digitally zoom. This will result in a better key too, because when you’re forced to scale, any flaws are blown up along with it.
“The deepest blues are black” – Foo Fighters
(this doesn’t help me when I’m chroma keying!) -
Try going into Keyboard Layout > Customize… delete the command, then reassign it. Just a thought, not sure if that’ll work for you.
Did you see if that command works in other programs like Word, Photoshop? Just to make sure your keys aren’t jammed?
“The deepest blues are black” – Foo Fighters
(this doesn’t help me when I’m chroma keying!) -
Same exact post was posted yesterday… you will likely have to garbage matte and composite. FCP doesn’t work like Photoshop.
After Effects and Motion will give you better tools than FCP, but you’re talking FC Express… so I’m guessing those aren’t at your disposal?
If there is motion in your shot (either the subjects move or the camera moves), you will have a lot of work on your hands. Rotoscoping, keyframing, compositing. Best advice is to reshoot, because that will truthfully save you the most time. If there is no motion, then you have something salvageable.
“The deepest blues are black” – Foo Fighters
(this doesn’t help me when I’m chroma keying!) -
For the hole, instead of trying to manipulate 1 group to do what you want it to do, maybe you could stage several mini groups to create the cluster around the logo.
Like so: L = Logo, * = people
* * *
* L *
* * *“The deepest blues are black” – Foo Fighters
(this doesn’t help me when I’m chroma keying!) -
I’ve never used AdvantEdge, but I can relate to this issue… a couple of tricks that could help: color grade the footage and try to get more contrast & tonal range out of your image before you pull the key. Color works really well for this. Pull the key from point in your image that is closest to her hair, not by her elbow for instance. Composite your subject in layers if your key is uneven; Motion has great bezier masking tools. Limit effect in CC3Way can come in handy in very creative ways too. There’s really no one-stop filter to handle a problem key, but combining a few different tools might get you closer to the look you’re hoping for.
“The deepest blues are black” – Foo Fighters
(this doesn’t help me when I’m chroma keying!) -
Play around with the channel offset filter in Final Cut, you may be able to keyframe the ‘y’ value offset… you could then export that clip and then run it through a stabilize filter… just a thought, not sure what the result of this will be.
“The deepest blues are black” – Foo Fighters
(this doesn’t help me when I’m chroma keying!) -
Try a file name that makes a bit more sense… like one that doesn’t have special characters, maybe is a little shorter, and simply ends in .mov
Get Info on the file to see what file type it is.
“The deepest blues are black” – Foo Fighters
(this doesn’t help me when I’m chroma keying!)