[Joey Burnham]

If you plan on capturing HD or from Digibeta you’ll need SDI as well as HD-SDI. Here at work we have Kona 3’s which are fantastic but expensive. Blackmagic has good cards as well. Decklink (from Blackmagic) is a good card and I think is around $1500.
You’ll need to figure out how to get reference as well.
Joey

[Joey Burnham]

email me. joey.burnham@mac.com

[Joey Burnham]

theres a good video out of a believeable effect but he wont tell anyone how to do it =(

What do you mean by this?

[Joey Burnham]

Hey there,
I worked with a bunch of Jumper footage at work, and I can tell you it was not done in AE, but after stepping through some of the footage, I can guess at how to achieve a similar look.

1. duplicate your source footage (person to morph) and apply an effect very similar to the disappearing cape tutorial that was just posted. You want your top layer to look like the predator when invisible. That’s exactly what the tutorial shows you how to do.

2. the transition into the predator material from your source looks to be a combo of a gradient wipe, with some masking going on depending on the type of morph you are trying to do. for example, lets say you want to do this effect to a car moving from left to right. you would transition from your source footage to the “predator” footage with a quick wipe from left to right. If a person is just walking, you might need an oval mask that animates on it’s y-axis. (like a door closing.

at the same time you could apply some turbulent displace to help sell the effect.

this is all fine and dandy for someone disappearing, but it gets more tricky to have someone appear. you need some sort of tear effect displacement map to effect your background footage, otherwise your character will just appear from nowhere, and in the movie it’s more of a portal effect.

sorry for the long post but I hope this helps.

really, watch the invisible cape tutorial. it will help.

best,
Joey

[Joey Burnham]

Makes complete sense! Thanks, I will test it out.

[Joey Burnham]

I work doing tv spots / trailers and home video work for the movie studios. Most of the footage I get is transferred from film, so therefore the 3:2 pulldown. There is the occasional straight ntsc shot on digi or betasp, but not much. Right now industry standard for HD is 23.98 (at least with my clients)

Sometimes I get the request to upconvert and was just looking for another way than to just send out to another post/creative house.

Joey

[Joey Burnham]

you will need to do the frame rate conversion elsewhere

Thanks Jeremy,
What would you suggest? I can always just pass this work along to a post house using a Teranex or something, but I would like to do it here if I could.

AE?

Or am I barking up the wrong tree?

Thanks again,
Joey

[Joey Burnham]

Thanks for getting back to me. We’ve tried almost everything, but no real fix yet. And the problem isn’t consistent, so I’m thinking it’s a FCP/Quicktime thing.
A quick fix which works though is just to apply the shift fields filter in FCP. Doesn’t really address the problem, but it works as a solution for now.
Best,
Joey

[Joey Burnham]

Your “uneducated” guess is the same as mine. I was able to pull the files in question into another edit bay and presto! Fine. But I still have the bad bay to deal with.

What exactly to you mean by “clean the database and cache”? I know about ctrl+clear for the cache, but what database?

Thanks!
Joey

[Joey Burnham]

If you shot 24p, then interpreted or rendered improperly, it would look pretty grim.

I shot nothing. The footage is spot on. We’ve done numerous spots for this same feature and I really don’t think it’s the footage.

FCP is just not liking the footage from AE. Footage before it goes through AE is fine, and after is fine too, just not to FCP.

Stumped.