[Mark Linthicum]

Thanks Andrew.

Good to know! I am starting to do it in AE now.

Thanks, Mark

[Mark Linthicum]

Great post! This was my experience as well, Compressor is the best for up-rezing. one issue though, Anti-Alias and Detail do not work in the last 3.5 version so it is limited right now. I wonder if anyone has experience with Compressor 4? Do the Anti Alias and Detail sliders work?

Any new plugins out there since this post?

Thanks, Mark

[Mark Linthicum]

Just confirming AE CS5 still bogs down when cloning from previous frame when painting in the same spot for more than 5 frames!
What crap!!

Am I the only one who sees that AE has been going down hill since version 6.5??

Its like they got lazy, just started licensing technology and the basic coding has gotten worse! With there was an alternative.

This is what happens when management calls the shots, making decisions for monetary gain rather than doing what is right! Evil bastards!

Mark

Thanks, Mark

[Mark Linthicum]

Thanks for the help,

I am using CS4, ProRes Footage upresed from DV

I understand AE uncompresses any footage you import into it, so it should not matter the footage type. especially since this flare is not part of the image it is generated in AE and all looks fine with the exeption the movement of the lens flare.

Thanks, Mark

Thanks, Mark

[Mark Linthicum]

It is not tracked, I just placed keframes in the timline evert few seconds to track the point. .
The footage is progresive.

[Mark Linthicum]

I went back to the RAW file loaded that into AE (AE now handles Raw RED files!) and changed to REC709 color space and the numbers lined up much better to what you suggested, this now keys much better!

The Power of RAW Footage I love it!

Tanks for the help!!

mark

Thanks, Mark

[Mark Linthicum]

I went back to the RAW file loaded that into AE (AE now handles Raw RED files!) and changed to REC709 color space and the numbers lined up much better to what you suggested, this now keys much better!

The Power of RAW Footage I love it!

Tanks for the help!!

mark

Thanks, Mark

[Mark Linthicum]

[Michael Szalapski] “Back in your original post you said “I have a well lit green screen…”
Sorry. No you don’t. I see Dean’s already explained it very well, so I won’t go into it too, but bud…you need a green screen that’s actually green.

– The Great Szalam
“

Michael,

Yes sorry, we did have an issue now that i think about it! I have been working with this footage so long forgot what green looks like!

This is an issue with the RED that sometimes happens, Something to do with 900nm light wave i think. with RED footage you can use different Color and Gamma Spaces when rendering from the Raw footage. i did experiments and this was the combination that keyed the best for most shots even though it is yellowish. i will try again changing the color space.

Thanks, Mark

Thanks, Mark

[Mark Linthicum]

Wow! That already looks better from a lower res JPG!!! Primatte looks like it is much better in this situation!

We shot with the RED so it is RAW footage, no looks. I thought Green Screen should be at 70 IRE and that is what we lit the screen at! I will try to stop it down and try to key it again.

Thanks, Mark

[Dean Sensui] “Your green screen is over exposed and off-balanced.

The RGB values are:
R 187
G 213
B 106

They should be:
R 70
G 158
B 70

If you checked exposure with zebras they should be right at 50%. And you must white balance for the light hitting the background unless you’re lighting your background with green light — and that shouldn’t be necessary.

Here’s a sample of your JPG composited with Primatte. Keep in mind that this isn’t a carefully composited image, and that the green screen is less than optimum. “

Thanks, Mark

[Mark Linthicum]

Hey Tim,

That is 100% correct, and I am not just separating the hair but right and left hair, I cant get keylight to leave the detail not even close, maybe it is that the RED footage is to compressed.

I have attached photos, you can see the right side of the head the clump of hair is missing.

Thanks, Mark