Lars Director
Forum Replies Created
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wow
no more, no les, just
wow!
🙂
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The rope’ll be attached to the talent. And with cromakey, this means the chroma being in close proximity to the talen, causing lichting differences in the color that must be separated. So this will include painting / masking /rotoing out parts of the rope. And frankly, if you’re not using a Discreet suite, but good old AFX… removing the rope is a little harder than building a reasonable diff. key.
But, if you feel more comfortable with a chroma shoot, try using a “peter pan rig”. Its a belt connected to 2 or more very thin steel or nylon cables connected to an off screen rig. These cables are so thin that choked matte within a masked range is sufficent to eliminate these cables. It’s relative simple becouse at waist level, theres probably simply clothing (no hair etc as with a vertical approach using a rope).
There’s thousands of way’s to do this, for a simple one I’d do a difference key, for a good one I’d try a peter-pan-rig. An if it’s 35mm SFX, I’d make a storyboard, and hire a Pro Rigger / Gripper to help me come up with a solution.
Good luck!
Remember, 2 day’s thinking it over and coming up with a smart solution is always cheaper than renting 2 day’s of Inferno time, to clean-up afterwards. (or financing a re-shoot)
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If the camera is locked like your example, a real plane and easy way to do this is an ordinary difference key. A single frame (take) without the talent, and a take with the talent. Add a basic shadow and… voilla.
An outdoors shoot makes it a little tricky if the light changes. The angle of the camera points preferable at the horizon, keeping the perspective errors close to not legible at all. And make sure the talent levitates at the exact focus point, it makes the key easier to perform (with some +/- choking if needed at all) and let’s you free to use some d.o.f. to.
best of luck, Lars
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I hope so 🙂
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Then again….
Doesn’t the Black Magic Deck Control software capture it to .Mov???
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I haven’t seen it done yet.
Here’s a cheap and dirty workaround using QuickTime Pro (on the Mac!)
The workability is depending on the knowledge of your client, or the importance of doing it super smooth… without pitfalls.You can playback avi files with QuickTime Pro. And you can save a reference QuickTime from that avi. The referenc Quicktime relates to the avi, and works perfectly for me if I receive avi’s that are not 1:1 compatible with the application.
If you are to suggest this, make sure the BMD codecs are available at the clients workstation! And that your client knows that both the avi and the reference Quicktime are needed for this trick to work.
You can also save a self contained QT, it only takes a little longer. If it’s not a lot of footage, you could do this in your PC, using QT Pro. It’s does a data copy, encapsulating it with a different wrapper. No transcoding is done, so it’s relatively fast.
Hope this ‘ll helps you out.
Lars
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Seems like there’s something in the startup procedure not working as it should be.
First power down on the mac and the Multibridge. Then make sure the cable is connected to the PCIe extender in the Mac (not via USB), powerup the Multibridge first, then powerup the mac.
If everything is stil greyed out in the prefs.pane, the Multibridge’s hardware is not recognised by the mac.
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if that happens, same procedure, but now with only a USB cable between the MB and the Mac, it should ask to update the firmware, update it and reboot. Now powerdown everything. Then connect it to the PCIe extender and see if it likes to update the firmware again. If it asks you to do so, do so. After the update reboot the Mac. Now everything should work.
Lars
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Looks simple enough to do the job just right 😉
Thanks, I’m gonna give it a shot!
Cheers, Lars
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Excact what you described there! 😉
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Yep it does;-)
But there is a but to this one. It lacks the ease of simplu dropping a couple of clips on timecodes with huge caps between them. Lets say just 10 6 minutes clips in a single timeline spanning 10 hours.
Thanx though!
Cheers, Lars