Joey Foreman
Forum Replies Created
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Absolutely there are better codecs than Sorenson. Sorenson is visually Lossy, especially in areas of subtle tonal gradation. Not to mention its compressed chroma subsampling. Even the admirable Sorenson 3, which had a good run for a while.
The After Effects default and de facto standard is the visually Lossless Animation codec, It’s the king of intermediate codecs. Its chroma subsampling is 4:4:4:4, supporting 32 bits per channel. The only really arguably superior formats being the good ole tiff sequence, open EXR, and, well, not many more.
If you’re on a mac, and will be working in FCP, the pro res codecs will do you a treat, being an excellent format for quasi-uncompressed final output, before compression for your medium of choice.
Use ProRes 422 HQ for the best rendering of graphics and composites, and Prores 4444 if you need an alpha channel for further compositing in FCP.
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Have you tried temporarily changing the resolution of your display, so that you can grab the window’s handle to move it?
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And if it is, is Accepts Shadows enabled in its Material Options?
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Is the black solid’s 3d switch enabled?
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I believe this video tutorial addresses your issue. Check it out.
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Oh yeah. On the top layer used for your Luma Matte, you should also add a Shift Channels effect. Set Take Alpha from Full On.
Set the Take Red, Green, and Blue from whichever channel has the highest contrast already. I think you could also set them all to Luminance for a similar result.It also just occurred to me that you’ll either need to set your track matte for the lower layer to Luma Matte Inverted, or add an Invert effect to the top layer.
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I wonder if you could make a high contrast luma matte out of this.
Duplicate the layer of the crowd footage. Add a levels effect and push the left and rightmost pointers in until the image is hi contrast black and white.
Maybe add a bit of Smart blur. Although the footage is already pretty blurry.
Set the matte for the lower layer to Luma Matte.
That should key out the white areas, hopefully.
Precompose those two layers, moving all attributes to the new comp.
Put your keyed guy below this precomp, and white solid under that.
That should give you a starting point. You’ll probably need to tweak those levels sliders.
Now all of the people will be in front of your guy, but the ones to the sides may still appear to be farther back.
Just see what you get. -
Since those figures are surrounded by so much white space you might be able to speed up the process by keying out the white or using transfer modes to isolate certain areas.
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Then you have to Rotoscope every person that you want appear in front of him.
Post your results this summer. -
1. Make your layer a 3d layer.
2. Set a keyframe for Y Rotation.
3. Go to a top view, grab the Pan Behind tool, and pull the anchor point away from the video layer. For now just move it straight back in z-space, or straight up in the top view.
4. Go back to Active Camera view.
5. Let go of the Pan Behind tool…hit V.Now when you rotate the layer in Y, it does so around the anchor point.
If you want you can create a camera and put it in the same location as the video layer’s anchor point, so the layer is always rotating at a distance, if that’s what you want.
One problem, though, with this approach is that you can no longer rotate that layer on its own axis.
So go back to step one. Forget the keyframe for Y.
Instead of moving the layer’s anchor point, create a new Null object, make it 3d, and move it away in z space. Now parent the video layer to the Null.
Now rotate the Null on its Y axis.
Same effect, but you can now rotate the video layer independently, if that’s what you want.