Rousselos Aravantinos
Forum Replies Created
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rough round shape mask [ garbage ] for the head.
a good keyer like primatte for the skin
extract/lumma matte for the facial hair.
composite wizard and color range will def. save some details.
the aproach is multilayering keyers i think.
You dont need roto -
yeap true this.
Alternatively I’d recommend some custom color extraction using lumma / color range and then selectively tinted to B/W .
this reminds me when i was developing color negative but printed on b/w paper. -
Try to separate color channels and then do a custom combination.
COlor channels are very useful when they are separated.
U can also try some plugins from Digital film tools than can simulate this look.
I’d recommend a photoshop action tho’
I guess u r talking about Film noir. -
Lots of old studio cameras in the 80s [ i had a jvc ]
used to deliver the video under a lil time echo. Almost invisible to the eye.
But when the lights went through the lens, it was there…
color clamp [GENARTS SAPPHIRE ]is something u should try.
There are also a few damage video plugins.
AIST Pro FX for AE was a plugin for earlier versions of AE.
Was able to produce some nice distortions with lots of parameters.
It was really better than digieffects.
But i think it was working up to Version 7 in AE.
I like custom made things, so once u happy with the digi process, try to VHS tape it and capture it back.
Make a copy of your layer and use it as track matte-lumma based on edges.
To the bottom layer try some lil mist and time mix, to get some kind of trails.
A third layer with 20-30%opacity may be a proper process.
feel free to post a sample of ur result.
cheers -
sounds really strange.
I assume u already tried to pick even smaller portions with the green brush, but again i don’t think rotobrush is the ideal solution for a long clip.
I remember i had a similar issue time ago.
I had to split my 30sec shot into 3x10sec pieces.
For some reason it was easier for rotobrush.
I also tried to convert my original video file [ H.264 mov ]
Dealing on tif files is always better.I’m not sure if it’s a matter of rototbrush settings.
But apart of difference matte I’d recommend some keying.
Color range can really do a good job for a raw basic matte.
then u can try to repair the edges details with some luma keyer for the hair.
U can use a smarter keyer 4 some skin tones for the rest.
I think a good combination of different keyers would do the trick.
If you like upload some sec. as an image sequence and I’ll try to make a template AE project for you.
It’s sounds tricky and I’d really wanna try this.
let me know what plugins u have installed so my aep can follow ur setup.U can post your footage link here for me:
steveagriosi@yopmail.com -
Hey,
since we have no reference frame to check, pls tell if this part of your shot is a stationary camera result or not.
A hand held camera i guess could make this harder.
For every shot u used a fixed focal length/ follow focus? ?
Also the motion blur depending of each moving person might be different so this might be a reason as well.
So your goal is to mask-remove the background, or just to put some light/color control for it?
If u need to pull out some matte, and your camera was static, u may try to use difference matte filter. [ in case u have any clean plate for the background ]
cheers -
not a vegas user her as well.
sounds like u need to make a preview render here again.
It reminds me the early days of premiere.
btw i bet vegas supports alpha channel on tif files,
so since every pic was a photoshop work, i can’t see te reason u add this green back on every picture. Make some alpha channel i’d say.
good luck -
Topaz Labs used to sell a plugin pack for restoration tasks which
was the best of the best.
“Topaz Enhance” was able to deinterlace/denoise/upscale/fix compression/antialise etc mostly for SD video.
It is no longer available since they decided that in a DSLR area there is no need for a plugin like this.
Dave is kinda right. But the real powerful version of Instant HD was in the previous 1 and 1.1 version because it was powered by topazLabs.
However you should check it out, it might do the trick for you.But I’d recommend you to see if you can find any previous demo of this amazing plugin.
Contact Topaz.
“Line accent” filter is all you need. It was able to smooth any pixelated diagonal line.
Line Accent was part of “Topaz Enhance”
I requested a demo version of it almost 2 months before they decide to call-in it.
They sent me a 30days Trial activation Key and it was fully functional.
My copy it’s for windows and I’m 95% positive there was a mac version also available.It’s really powerful.
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CTRL+SHIFT+H
Cheers
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Hey ur goal sounds nice.
However it might help if u’d provide us some further details about the real shot regarding light setup.
I’d imagine that scene in more real lighting revealing for your actor
[let’s say a silhouette back lit of him ]
so this light making a contour first as the cg-footage rain blends in,
and later on reveals all of his features.
I hope u have your shot with some real water raining on him as well.
I’d recommend you to check for a real rain footage to boost your realistic fx.
Maybe you should use you rain layer as a track matte Lumma/alpha
for your talent.
or even some cg follow focus that travels across your rain layers to the one of your talent.
I guess that since u’v done with ur shooting now only cg+compositing left to run.
So u wanna make a realistic one or something like sin city?
cheers