Joseph W. bourke
Forum Replies Created
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Here’s a good discussion of this issue:
https://forums.creativecow.net/thread/280/875
It all boils down to the amount of information in the chroma sampling. Here’s a good snapshot of what’s going on:
https://www.5dfilmmaking.com/tut_444.htm
And a nice little pocket education on the how’s of shooting for a chroma-key:
https://generalspecialist.com/greenscreen-and-bluescreen-checklist/
In production, you use the camera with the highest chroma sampling rate you can get – minimum 4:2:2. Otherwise, it can be done (anything can be done), but at the cost of time in post-production.
Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com -
Here’s an answer to one of your questions, as far as the editing process goes:
https://www.voiceoverxtra.com/article.htm?id=27umwzdu
There are so many complex questions, that it appears as if you need to start at the beginning, and go through the help files and other Adobe resources.
https://tv.adobe.com/videos/adobe-audition/?p=9&t=0&r=20
If you’re just recording the voice track, there’s no reason to work in multi-track mode, and as far as reducing noise, it all depends on what kind of noise. If you’re recording in a professional studio, there shouldn’t be any noise, other than breath, essing, the occasional flub, and other things which need editing. If you’re getting too much noise, you should rethink where your recording, and what you’re recording with, in terms of mics, pop filters, and such.
As far as levels go, in Waveform Editor you can look at Amplitude Statistics. If you don’t understand what the RMS levels are, you need to do more reading. Here’s another good, one page look at Audition:
https://www.larryjordan.biz/audition-power-tips/
Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com -
I think you need to make the 2D objects into 3D layers, and then move the anchor point so that it coincides with the center point of your sphere – or close to it, anyway. Bear in mind that CC Sphere is really only a 2D layer looking like a sphere. You might get better results working with Element 3D, but it looks doable without spending the money for it.
Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com -
When I have a client who needs a large file yesterday, I pop it on a 36GB thumb drive and overnight it. Client pays for the thumb drive and shipping charges. I have a 100GB Dropbox account, but it can be very painful when there are large files involved.
Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com -
It depends upon the shape you’re trying to wrap. Fitting to a billboard is a simple matter of corner pinning, and often motion tracking if your camera is moving. Wrapping around an object would be called texture mapping, and if you’re on the CC version of After Effects, you’ve got Cinema 4D Lite and Cineware to help do the job.
https://greyscalegorilla.com/cineware
Another option, if you’re still on CS6, which I am, is to use Video Copilot’s Element 3D. It’s a simple matter to set a layer in your comp to be the texture (in the Element menu) and then use that texture to wrap the object in the Element interface. Do a search on “Texture mapping in after effects”, and you’ll see quite a few different methods, depending upon which version you’re using, and which plugins and third party packages (I use 3DS Max) you have on hand.
Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com -
As I’ve always said, and it should be a warning on the side of the box (if there were a box): “Talent not included.”
Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com -
Steve and Walter are right on the money. I just transitioned from an old machine to an HP Z800, and what saved my sanity was that I kept the old machine up and running, right on the floor below the new one, and networked.
That way, when the several “Oh Sh..!” moments hit me, I could quickly move the missing presents, plugins, licenses, what have you, quickly. One thing which helped out – I had one of my media drives from the old machine, and had put my Temp folder, where I keep all of my plugins, scripts, presets, etc. as backup (as well as on my Drobo). Once I got the new machine up and running, I just popped the media drive into the new machine, and everything was there, ready to be installed. Also write down plugin license numbers, and bear in mind that some plugins are one machine only, so you have to uninstall the license on your old machine, then reinstall and re-register the license on the new one. With 3DS Max, they have a very nice license transfer, where you upload your old license to the Autodesk site, then download it to your new machine. Slick!
Since my old machine was right on the floor, I just ran a VGA cable to my monitor (which has switchable inputs), and didn’t need the KVM switch. Just kept the old mouse and keyboard on top of the old box – a bit of juggling, but it worked just fine. Allow a couple of days for the stuff you’re going to forget – also really helpful – an Excel spreadsheet with a full list of programs, plugins, drive locations, serial numbers, etc. You’ll be amazed at the important stuff you’ll forget to move over…
Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com -
You owe it to yourself to track down some lahmejun (that’s the way my Armenian friends here in the Northeast spell it). It’s essentially an Armenian flat bread pizza. Any good middle eastern bakery should have them. You can get lamb ones, lamb and green peppers, garlic and lamb, ground beef, and many other tasty combinations. And any mid to major sized city should have a middle eastern bakery. They often sell them frozen in boxes of a dozen. Mmmm….Lahmejun…
Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com -
Hi Al –
I couldn’t tell you about the Kessler, but I have worked with motion control data (in Combustion, at the time – AE has the same capabilities to import the data) enough to know that this would be a way of achieving those shots without really tearing your hair out.
The projects I worked on (in which I had to put screens in vintage televisions while the camera flew past them and around them) shot a brightly lit shot to get the tracking points, an artfully lit shot for the final compositing, and a highlights shot to composite screen reflections and such. The data sent from the motion control rig, dropped into the camera keyframes in AE, and it’s then relatively easy to tweak the final screen composites. It’s also commonly sent to 3D packages as well, such as 3DS Max.
It looks as if the Kessler will do this, in conjunction with another piece of hardware:
https://www.kesslercrane.com/product-p/cam-ctrl-box.htm
Here’s a nice short article which goes over the many practical uses of motion control – using a honking big Milo rig. It’s very interesting to see that a lot of this capability is now coming down to stuff you can haul in a large jump bag with a couple of grips:
https://vd-fx.com/article/motion-control
Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com -
Al –
I think that it may be that they have some motion control capabilities in the rig they’re using, so they can duplicate the camera motion (at least rotational) in x and y space. This would mean that any shot they shoot with that setting would be able to “match” in to any other shot, just by choosing the edit point. Of course, as you say, it looks as if there’s some creative masking going on as well.
Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com