Matthew Ross
2
After Effects Coins
3
COW Coins
Forum Replies Created
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I’ve used “camera originals” in the past. That might not work for you if you have a separate transcode before editing, where your “camera originals” are not what you’d use in a project, and you also keep your actual camera originals in the archive.
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I don’t see any other way to do that shot properly than with a motion control rig. And then at that point, it’s not really a tracking job anymore, just matching the motion control so that both shots are in sync (and then after that move on to the rest of the compositing of course).
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I’ve been quite happy with the Neat plug-in on FCP 7. I highly recommend you download the demo (which has some limitations) and try it on your footage and see if it does what you need.
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Any chance they can put green on the screen instead of white? (I couldn’t tell from your post if everything’s already been shot or not). If some shots will have hands moving in front, you’d be better off not having to rotoscope.
Take a look at the last video on this page, particularly starting at 7:45:
https://www.hollywoodcamerawork.us/vfx_sampleclips.html
As Dave LaRonde recommended, this tutorial also recommends that even if you’re not going to use green, you should definitely try to keep natural reflections to help sell the composite, though this video tutorial recommends black on the screen rather than mid gray.
As for time estimates, I think if you got the routine down (got fully back up to speed with Mocha), and had green on the phone’s screen, you could probably do each shot in an hour. But, like Dave, I am also not particularly good at estimates. 🙁
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The tutorials listed on the right side of that compression web page you linked say to use the Sony AVC template when rendering, not the Main Concept one. They are only showing tutorials for Vegas 9-11 though, and even though I had Vegas 8, I can’t remember if it had the Sony AVC template. Not sure if it would fix the issue, but worth a look.
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I had the same issue trying to record from an NVIDIA card to a Hyperdeck through HDMI. Here’s what did to fix it:
Use the NVIDIA Control Panel and go to the “Adjust desktop color settings” in the Display section. In Section 3 you should see the Digital Color Format heading with a pull-down selector set to RGB which is the default. Set it to YCbCr444 and apply the change. This should allow the Hyperdeck to record correctly.
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Follow up: I also did a DNxHD encode to ProRes 422, and while it initially looked like the audio and video came across just fine, there is a noticeable change in gamma (ProRes is darker). I know I’ve read about gamma issues going back and forth between these two CODECs before; I don’t know what can be done about it here.
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I just did a couple of tests on my PC and checked them out over on my Mac. One of the encodes I did was from WMV to ProRes 422 and while the picture was fine, I wasn’t getting any audio and QuickTime was complaining about needing to download more components to play correctly. I believe that’s because the audio was probably still WMA.
Another test was an H.264 .MOV file converted to ProRes 422 and that seemed to work fine with both audio and video. So I think if you feed it an audio stream that QuickTime plays natively like AAC from an H.264 encode or obviously just uncompressed, it works fine.
Final Cut Pro recognizes these encoded files as ProRes 422, but I did notice that QuickTime itself reports the video format as “prores” while with a “real” ProRes file created on the Mac it reports “Apple ProRes 422.” I’m not sure if there are any implications there that a user needs to worry about; I guess someone would have to send such an encoded file to someone requesting ProRes and see if there are any acceptance problems.
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The 2001 movie The Others did something like this–Nicole Kidman’s character was walking along in the woods and they slowly became more and more foggy. I believe the DVD extras talked about the process, but as I recall, you would basically have to isolate all the objects in the shot that are at different distances from the camera and then apply different opacities of fog to them. If you don’t need any kind of turbulence in the fog, just layers of white would probably do.
This would be a very painstaking process though, because you’d have to go through and rotoscope pretty much every tree, section of ground, etc., in addition to the character, in order to treat them as different depths. It’s a similar process to how 3D is added in post to movies that were shot 2D.
Here’s the sequence from The Others:
https://www.youtube.com/watch?v=zd0FCDiFapo
And here’s an article on adding 3D after-the-fact to Jurassic Park, which would be a similar process:
https://flavorwire.com/382554/jurassic-park-how-a-2d-movie-becomes-a-3d-movie
In the “old days,” some films would fake fog by putting a fog filter on the camera, but the problems was that the entire shot had the same level of fog, rather than more distant objects being more obscured, so it always looked fake.
If you want to do this, and you want it to look good, you’ve got a lot of work ahead of you!
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