Olly Lawer
Forum Replies Created
-
Thank you. 100GB option does look interesting.
What I tend to suffer from is not utilising all of the 25GB. I tend to waste space on the Disc. For example, the last shoot I did ended with 32GB of data. Too large for one disk and way too small for a 50GB.
Olly Lawer
-
Hi,
I would very much like to progress this idea.
There was a post here from Walter Soyka with a link to helping me find the right talent for the job, but I guess it was deleted for some reason?
Walter, if you read this can you email or direct message me instead if it breaks the rules of the forum to post it here.
Kind regards,
Olly Lawer
-
On a note of price.
If one of you were to produce this for me, what would be the cost and what would you need from me?
Kind regards,
Olly Lawer
-
[Dave LaRonde] “[Olly Lawer] “1. When the hand comes in to adlib, won’t that create a shadow, thus complicating the keying of the green?”
Not if you build a rig above the chroma key background that holds the clear panel firmly in place. You’d also have to think about reflections of he hand. Excellent lighting, testing and a bit of rotoscoping are all key. I don’t know if it’s necessary to have a green marker.
[Olly Lawer] “2. You think all the images AND text are animated and not drawn?”
Yes. You’ll note that in several places, the material being “drawn” on magically changes color although the marker keeps drawing.
[Olly Lawer] “3. Where the image seems to be ‘drawn’ you think shots (I guess high quality images taken on a high end still camera) where taken at various points of the drawing (without the drawers hand obviously) and then these inserted into the time-line in sequence until the drawing is complete?”
Or a meticulously-prepared series of Illustrator layers, where revealing the visible portions is animated. That’s an extremely consistent-looking white background, which leads me to believe it’s just that: a background, and not paper.
[Olly Lawer] “4. The adlib hand is then matched to make it look like it is drawing it?”
Yes. You’ll notice the hand leaves the shot before the illustration ever moves. That way, it’s easier to position the hand on the shot. Each chroma key shot is a prescribed action, no doubt rehearsed a time or two. Or ten. Perhaps even with the aid of the actual graphic being onion-skinned over the chroma key shot in a monitor to aid the director & talent. I doubt this was done just by rolling a camera and hoping for the best.”
Sorry – just saw this – thanks. I think I get it now 🙂
Olly Lawer
-
Cool.
I’m still not entirely convinced I know how to achieve this. But I will mull it over – it is late 🙂
I get that you can take a series of still of the drawing as it is completed and zoom in. Easy.
Then when you add in the hand for the adlib, you need to match that up with the sequence of stills you are going to use when ‘drawing’ the object. So if, lets say a character for example, is animated from the stills into 4, 1. the left leg, 2. left leg + torso and left arm, 3. left leg + torso, left arm and head, 4. left leg + torso, left arm, head and right arm and leg. So the adlib hand needs to draw in THAT sequence, otherwise the hand/pen won’t follow the sequence of stills – right?
Now, if I stencilled out the drawing on a white board and lit it well so you couldn’t see it, it would be easy for the hand to come in and adlib in that sequence, but I would have to key out the hand manually. So the only way to do that would be to use a green screen, with glass on top and already have the drawing stenciled out in green pen which the hand adlibs. So then I can just key out all the green and place the sequenced still images below it – right?!
Olly Lawer
-
[Kevin Camp] “get a big white board, higher an illustrator and set up a digital still camera to shoot time-lapse.
then in post, zoom and pan as needed to keep the action in frame.”
This is what I was thinking to be honest, but the hand drawing would need to be adlib wouldn’t it – otherwise the drawing wouldn’t come across smooth like it does on this animation?
Olly Lawer
-
PS – How long would it take to produce something like this?
Olly Lawer
-
[Angelo Lorenzo] “Green screen with glass or acrylic laid on top. Green dry-erase marker. The actor adlibs the drawing to an already animated sequence of hand drawn images and computer drawn text and strokes. The actor’s hand is then keyed and overlaid with the animation. Done deal.”
OK. So just to be clear about it then.
1. When the hand comes in to adlib, won’t that create a shadow, thus complicating the keying of the green?
2. You think all the images AND text are animated and not drawn?
3. Where the image seems to be ‘drawn’ you think shots (I guess high quality images taken on a high end still camera) where taken at various points of the drawing (without the drawers hand obviously) and then these inserted into the time-line in sequence until the drawing is complete?
4. The adlib hand is then matched to make it look like it is drawing it?
Sorry for all the questions!
Olly Lawer
-
[Jason Jenkins] “it’s given a bad name by those who haven’t tried it”
Probably very true!
It is true that FCP X doesn’t have a lot of the functionality that traditional professionals or high end professionals need (not as in quality, but functionality) and thus gets bad press, but it seems for the more main stream corporate video productions, its a real treat.
Olly Lawer
-
Hi Jason,
I’m in danger of turning this into a FCP X: the debate thread, but if you could give a few reasons why you prefer it that would be really helpful for me to decide. I am very tempted.
Olly Lawer