Olin Padilla
Forum Replies Created
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Really this could have been done in either, but I would bet AE, based strictly on the delivery format and the quality of the work.
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I have gotten this exact same effect shooting with an HPX-500 on P2. In my case, I assumed it was a combination of bad lighting and contrast compensation in the compression.
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Stock Creative Cow answer:
Transcode to ProRes. That’s what I’d do.
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Scaling with interlaced video can get tricky. I would export with the current 1080i settings, and scale/compress it with another tool.
MPEG Streamclip has a Interlaced Scaling function, that I believe is designed for exactly this. Compressor should have something similar too.
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Beware that whenever you reduce moire in post, there is a good chance it will resurface with your eventual compression and/or scaling.
Best case scenario, you will be able to isolate the suit without having to roto, and then use Dave’s technique. Another cheap fix is to try adding noise. Again, the moire patterns might return when scaled or compressed.
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I think we’ve all been in this situation, and it sucks.
I can’t see your footage, so I can’t say anything too specific, but here are a few tricks I’ve been able to use in the past. These really depend on the footage, and it will only correct the look of the edge, not the precision.
1) Layer, layer, layer your keys. If you’re lucky you might be able to hone in on that halo. (Not the Keylight effect itself, but the actually layers). Use mattes too.
2) Try to correct the halo with a light wrap. While you’re at it, look into the Key Correct plug-in set from Trapcode.
3) If acceptable, try color correcting the composite background to match your ugly edges a little better.
4) In a few occasions, I’ve been able to salvage keys by doing this: Duplicate the layer after keying. Choke and feather the top layer. On the bottom layer, play with your blend modes. If the halo is light, you might be able to blend it with Multiply, if it’s dark try screen. Fine tune.
Let me know if anything works. If you send a still, I can tell you more.
Also, if you have CS5 you might be able to use some of the decontamination tools that come with the rotobrush. Decontamination works the same way light wraps do, but it uses the composite background instead of a color. I don’t have CS5, so I can’t say how to do it.
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I use IShowU, but haven’t used many others. Don’t know about PC. The
Apple FCP board might not be the best place to look for PC software recommendations.
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By full HD I mean 1920×1080 square pixels.
Like this:
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So, if I’m following right, you shot a transparent tank filling with water, and you want the rising water/surface waves to act as a wipe, right?
Normally, a quick way to make something like this into a matte is to de-saturate it, and play with the levels until you have the areas you want isolated into either black or white. Use it as a luma matte and you’re done.
The problem I see here is that you used water. If you try to use filters to isolate it, you are going to end up with a mess of reflective and transparent sections.
Either way, the trick to this type of effect is to use filters to isolate the part of the footage you want as a matte, and to avoid manual rotoscoping.
Good luck.
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The 7d footage is progressive. Don’t touch anything in the frame controls, and make sure the geometry is full HD.
I’m not sure how 30p (or 30F apparently) works on the XH-A1. If it’s HDV shot on miniDV tapes, then those frames are going to be divided into 60 fields per second. If the camera recorded 30 progressive frames a second and split each one up into 2 fields, then you should have legit progressive footage when imported. The only way to tell is to test it in all your different video players. If you see any edge combing, then something is wrong. Beware, depending on your sequence settings, FCP will sometimes de-interlace video automatically.
Whatever you do, don’t use any kind of de-interlacer!