Tony Kloiber
Forum Replies Created
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Thanks for the link. Looks like some good info.
TonyTony
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Yes I’ve asked something similar there, but haven’t heard anything to convincing one way or the other.
TonyTony
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Without knowing more about the footage, you could import one of the files from the FCP capture scratch folder. Drag the footage down over the make comp icon at the bottom of the project window and that will give you a comp the same size as your footage. If you select the footage in the project window the settings for that footage will be shown at the top of the project window. You can then set your render and output modules to match this so when you render it out, it will drop right into the timeline. Of Course test the settings to see if AE interprets the footage correctly.
TonyTony
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A full-fledged Roto with access to each node and per-node feather. XML import/export (sorry duck). Those two things and an interface-lift would be what I’m wishing for.
Ah Christmas Wishes
TonyTony
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A full-fledged Roto with access to each node and per-node feather. XML import/export (sorry duck). Those two things and an interface-lift would be what I’m wishing for.
Ah Christmas Wishes
TonyTony
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You want to create a clean bkg, an image, free of anything you might want to remove from the original footage so that you can selectively remove any object you want. If you had shot a clean bkg in the filming/taping of the scene you would have it. You can make one from a live action element but it takes sometime. You could paint it in photoshop but you lose the noise/grain in the motion footage when you create a still from the live action element. You could create some noise by using the same camera and shooting something even colored (like black) and then try adjusting the contrast and layering that over you static bkg with multiply or whatever mode works best. You can take a number of copies of your live action element and by masking and repositioning and scaling, create a clean bkg.
Tony
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In AE your choices are RGB, Luminance or Saturation, whatever you feel is going to get you the best separation from the background and your markers would obviously be the choice. Other tracking software maybe able to use a particular channel. Are the walls white and are the frames all black then maybe you can just use the frame’s corners as the track points. If your able to use the frames then you don’t have to remove the tracking dots. If they don’t mind you putting stickers on the art then put black and white makers in the inside corners of the frame then your replacement art will cover the markers.
TonyTony
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Short answer yes thats one way. Things to keep in mine: Make the post appear to be 3d by using ramps and or mesh color gradients, and create fixtures for the lights. The light banks will need to have shine placed at the center of each bulb in the bank. You could also use Lux, if you have that, and place ae comp lights as the . . . well the lights.
TonyTony
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Put some +’s on a sheet of paper and copy it. Track the +’s as they come out of the copier. You might want to start at the end and track backwards. Have AE guess at the last few frames where your track points won’t be visable. Then just clean the track up a little (if needed) and apply to a null, parent your footage to that null.
TonyTony
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If there is no way to pull a clean key with out losing some of the shirt, and the hole is not at the edge, you can simply add another copy of the footage layer to your comp and mask around the problem area. Feather and color correct to match and your set.
If his edges move pass the mask then you could track his movement apply the track to a solid layer draw the mask as before put this solid layer above a copy of the original footage and use a tracking matte to reveal only the problem area. (apply tracking data directly to a mask would be nice – hint, hint)
So long as the masked area does not cross his edges you need not worry about masking or painting the exact hole.
TonyTony