Robert Morris
Forum Replies Created
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Yeah, nice execution. I would think greenscreen just because roto-ing that much footage would be a nightmare… and pretty much unnecessary. A simple key to give the cutout, then a stroke to give the white edge. The performers were mostly shot locked off on sticks it seems. Then all the motion graphics were done with 3D cameras and card layers. That’s how I’d do it, at least.
First step is storyboarding, of course.
Fine Art Drawings | Photography | Compositing | VFX | Titles | Keying | 3D -
Yeah, it’d be nice if anyone knew of a wire removal technique for curved hair. What I usually do is mask the hair out, blur a second layer below, then add the grain back in to the blurred layer. This has worked for me on lots of occasions with small bits of dust and hair. But areas of detail are trickier.
Anyone else want to pipe in with their AE techniques?
Fine Art Drawings | Photography | Compositing | VFX | Titles | Keying | 3D -
Okay, let me try to clarify. I have footage of a man’s head. The head is moving around the screen for the duration of the shot. I have a white solid tracked to the head. I’ve drawn a mask on the white solid to trace the contour of the head. But the head moves so much that the white solid isn’t covering the top of the head when it comes into frame, essentially creating a cut in my alpha where the solid ends. Yet I’ve already adjusted my mask on the first part of the shot for about 20 keyframes. If I pan-behind to move the solid to cover the top of the head, it only pans behind on the mask keyframe I am currently on and not on the rest of the shot. So I’m wondering if there is a way I can slide the solid up to cover the top of the head, yet keep my already drawn mask where it is… essentially doing a pan-behind, but having it effect all mask keyframes the same.
https://www.mechanicalwhispers.com
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I glanced over it at the beginning of my quest to understand YUV vs. RGB. But now that I know a whole lot more about DPX and such, I shall give it a thorough read.
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You may want to read Stu Maschwitz’s blog about AE7 and Linear color workflow. It helped me understand a bit more about DPX files.
https://prolost.blogspot.com/2006/02/linear-color-workflow-in-ae7-part-5.html
To my understanding, it is ideal to receive Log DPX files to work with, bring them into AE’s 32-bit (float) workspace, use the conversion effect to convert them to Linear, and then convert them back to Log when rendering back out to a Cineon DPX sequence. But someone please correct me if I’m wrong, as I’m new to this format as well.
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I think I actually figured out what the problem was on my end. I did have a process running in the background. A program called PeerGuardian that was apparently blocking some of your ads. I killed that process, and now the pages load instantaneous as they should. I don’t recall having this problem with the COW before, but perhaps it was this program running in the background recently. I do understand that ads are necessary to keep the COW alive. Thanks for looking into keeping this site running as smooth and efficient as possible.
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Thanks for setting me straight. I was assuredly confused about YUV vs. RGB. Though I swear I read somewhere that Quicktime Animation codec was 4:2:2. And it was probably on the internet, so it must have been true. 🙂
I think RGB 32-bit TIFF sequence or 10-bit Cineon DPX sequence is the way to go for receiving and delivery.
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Peter, let me first say that reading all your posts about DPX files has been extremely helpful in understanding more about this format. Even your suggestion in another post about reading Stu Maschwitz’s blog on AE7 and Linear color workflow was invaluable. (prolost.blogspot.com in case anyone else wants to peruse it)
Now, to my understanding, when you are ready to render the DPX sequence in AE certain things need to happen. You need to be in 32-bit (float) workspace. Then drop your finished comp into a new comp. Apply the Color Profile Converter effect to a new adjustment layer in this new comp. Leave Input Profile set to “Project Working Space”. Set Output Profile to “DPX Scene – Standard Camera Film”. Then render the comp using “Cineon sequence” with DPX checked. Correct?
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I was posting a follow up at the exact same time you posted this. It’s definitely the ads that are currently slowing things down. “ayrshire.creativecow.net” to be exact. I posted a detailed explanation of what is happening and what ads I can see. The others that are not loading seem to be the ones causing the slowdown (probably due to broken links or something). I don’t really know how that ad stuff works. But obviously it’s not doing any good if it’s not loading, plus it’s slowing down the site immensely.
But again, I just posted a detailed follow-up in this thread. It would take me 7+ minutes to go back and copy and paste it. Maybe the site is working faster for you?
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It’s DEFINITELY the ads. Does any site moderator read this? I’m surprised more people aren’t complaining about the slowness of the COW. It seems to have been going on for several days now that I can tell. Here is a breakdown of what I’m noticing:
I have Firefox as the only thing open. Nothing else is sharing my internet connection or computer resources.
https://forums.creativecow.net: 45 seconds to load
https://forums.creativecow.net/forums.php: 3 min. 30 seconds
https://forums.creativecow.net/viewforum/1: 3 min. 30 seconds
https://forums.creativecow.net/readpost/1/855806: 3 min. 45 secondsAnd in my status bar it says “Connecting to ayrshire.creativecow.net…”
And the ads slowly load on the left sidebar (“–” indicates an ad that is apparently broken, causing the slowness):
Blackmagic Design
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AJA Video Systems
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Dulce Systems
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CalDigit
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—PLEASE someone fix this soon otherwise I will have to stop using the COW. Over 11 minutes wait just to get 3 clicks in to view this post is RIDICULOUS! Forget about searching…
Let’s see how long before this post actually posts and refreshes. Ugh.