Tony Kloiber
Forum Replies Created
-
Well, send me the bus shot the video and a blank check and I’ll have it for you tomorrow ;<) Or You might try corner pin tracking the back of the bus. Another possibility would be to just track X and Y and handle the scaling... well by hand. TonyTony
-
You have two things to deal with here. One – the screen replacement. Two – roto of the objects (people) that are in the foreground of the the screen replacement.
On the screen replacement for the locked off shots you can corner pin the replacement layer to the screen, try to use a transfer mode that maintains the reflection on the the glass.
On the shots that move you need to track the camera motion. You can do this with the corner pinning (4 point) track but you might also be able to do with a 2 point or even a single point track, It depends on the motion of the camera in relation to the TV set. You don’t have to track the corners of the TV (but if you can it may help) you can track some other object in the frame. It works best if it is on the same plane (distance from camera) as the TV but if the motion isn’t that great it could be just about anywhere. You can relocate the track point if it becomes obscured to another point and continue the track.
Once you have the track information (and your happy with the results) apply it to a null, parent the screen replacement layer to the null and then corner pin the layer to the screen – again using a transfer mode to retain the highlights in the glass.
The next step is to roto around any objects (people) that pass in front of the screen replacement layer. Here is a link that has a great explanation of the roto process https://effectscorner.blogspot.com/
Keep in mind that you only need to roto the parts that pass over the screen and only for as long as they are in front of the screen.P.S. Putting green on the screen during the shot can kill the reflections and cause green spill on the bezel both of which reduce the believability of the final shot.
TonyTony
-
You have two things to deal with here. One – the screen replacement. Two – roto of the objects (people) that are in the foreground of the the screen replacement.
On the screen replacement for the locked off shots you can corner pin the replacement layer to the screen, try to use a transfer mode that maintains the reflection on the the glass.
On the shots that move you need to track the camera motion. You can do this with the corner pinning (4 point) track but you might also be able to do with a 2 point or even a single point track, It depends on the motion of the camera in relation to the TV set. You don’t have to track the corners of the TV (but if you can it may help) you can track some other object in the frame. It works best if it is on the same plane (distance from camera) as the TV but if the motion isn’t that great it could be just about anywhere. You can relocate the track point if it becomes obscured to another point and continue the track.
Once you have the track information (and your happy with the results) apply it to a null, parent the screen replacement layer to the null and then corner pin the layer to the screen – again using a transfer mode to retain the highlights in the glass.
The next step is to roto around any objects (people) that pass in front of the screen replacement layer. Here is a link that has a great explanation of the roto process https://effectscorner.blogspot.com/
Keep in mind that you only need to roto the parts that pass over the screen and only for as long as they are in front of the screen.P.S. Putting green on the screen during the shot can kill the reflections and cause green spill on the bezel both of which reduce the believability of the final shot.
TonyTony
-
I had a problem when time remapping two greenscreen shots (keying with Keylight).
On both shots during the time when the footage was playing back, at a rate other that the normal rate, the key was showing some small level of the greenscreen (light gray as the color suppression was on). This went away at the keyframe of the time remap that begain the portion of the shot that played at 29.97 fps.This did not show if I removed the time remapping. My solution was to time remap the shots, render, reimport and then key.
I never figured out what was going on and as I was junking up the shots with lots of other effects downstream of the key the pre-rendering wasn’t an issue.
TonyTony
-
Ok you might just try moving that footage layer across your background footage without tracking and see if you find that it looks like what you wanted, if not try my second suggestion about tracking and applying it to a null, animating the footage across the frame then parenting it to the null.
Good luck
TonyTony
-
I’m not sure I understand the elements that you have or what you trying to get, but I’ll ask some questions that might help.
Does the missile move thru the frame on the original shot or did the shooter track along with it?
If the missile moves thru the original frame then tracking the camera move of your background element and applying that tracking data to the missile footage would get the camera’s movement added to the motion of the missile thru the frame.
By the way, You might want to apply the track to a null and parent the the missile footage to the null, this gives you the ability to make some adjustments to the layer but still have the camera motion.
If your missile does not move thru the original frame then you need to use the null method but add motion thru the frame by animating the missile footage in the way you want. You might animate the missile footage first then parent it to the null layer and check to make sure it is still working for you.
Keep in mind that if your trying to create a shot that looks like someone photographed a missile moving thru some area, that people will not always keep the missile right in the center of the frame. (i.e. they pan over and sightly passed the missile then move back to a better framing as they begin to track along with the missile)
TonyTony
-
No need for tracking.
Position A is at time q,
Position A is returned to at time p,
Time of rotation is q-p = r
Camera rotation time = r
So long as the girl on the turn-table is rotated at a constant speed you got no problems.Now if you wanted to make it seem as if you dolled around in a natural setting you would have to setup a light rig that would show what the light would look like on the girl from all the different angles and have smooth transitions.
TonyTony
-
No need for tracking.
Position A is at time q,
Position A is returned to at time p,
Time of rotation is q-p = r
Camera rotation time = r
So long as the girl on the turn-table is rotated at a constant speed you got no problems.Now if you wanted to make it seem as if you dolled around in a natural setting you would have to setup a light rig that would show what the light would look like on the girl from all the different angles and have smooth transitions.
TonyTony
-
Well it will depend on the font but on a mac you hold the option key and type 8.
TonyTony
-
Unless I missed something, there isn’t anything to magical about the linking of the shot to a camera move. You would not extract a rotation value directly from the footage. What could be done is an inference of rotation based on time. If the turntable is a constant speed and it takes 4 seconds to go 360 degrees then you can set this change in rotation to the camera and the back ground would appear to move at the same rate. This could be used to give the impression that the camera dolled around the talent in the space.
I’m not sure why you would even create an expression but if you wanted to you would look at the number of frames in the turntable shot and determain a ratio between the rotation and the time (i.e. 360/(4*framerate)). I’m sure Dan Eberts could help with the expession itself.TonyTony