Tudor "ted" jelescu
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You need to ask your client to provide the technical specs for the final delivery. Will a digital projector be used, thus requiring a digital format, and if so what size, frame rate and compression format ( I have rendered JPEG2000 2k for digital projection). Or will there be a transfer to film… You should not start the project before you have all the details.
Tudor “Ted” Jelescu
Senior VFX Artist -
It looks like the shots were well planned in advance and fireworks elements were shot on black to match the perspective of each shot. There are particle systems involved as well in some shots.
You can find stock footage of Fireworks at https://www.detonationfilms.com
Also Particular has a preset for fireworks which can be tweaked for better results.
Here’s a few fireworks tutorial links:
https://www.adobe.com/designcenter/aftereffects/articles/aftcs3it_fireworkseffect.html
https://www.videocopilot.net/forum/viewtopic.php?f=4&p=48257
https://visualtutorials.nl/video/Fireworks-in-Adobe-After-EffectTudor “Ted” Jelescu
Senior VFX Artist -
“To ensure baseline interoperability between different HDMI-sources and displays, all HDMI compliant devices are required to support sRGB video 4:4:4, at 8 bits per component. Support for YCbCr color-space and higher color-depths (“deep color”) are optional. HDMI permits xvYCC 4:4:4 (8–16 bits per component), YCbCr 4:4:4 (8–16 bits per component), or YCbCr 4:2:2 (8–12 bits per component).The color spaces that can be used by HDMI are ITU-R BT.601, ITU-R BT.709-5 and IEC 61966-2-4.”
https://en.wikipedia.org/wiki/HDMI
So yes, HDMI supports 4:4:4.
The problem comes in with the output signal from all the dslr cameras that shoot HD video (up to this date at least). What you will get is a compressed signal 1920×1080 with 1.0 pixel ratio and 4:2:2 color space.
This thread may help:
https://www.hv20.com/showthread.php?7008-Recording-1080p-via-HDMI-cableTudor “Ted” Jelescu
Senior VFX Artist -
Well, if you post something for feedback do your best on it- especially since this was a short shot. The missing hour (at most) that would’ve taken you to roto and finish is exactly what breaks this test. You are denying yourself better feedback just because this will jump at any person who looks at the shot.
Tudor “Ted” Jelescu
Senior VFX Artist -
I have successfully used the tutorial below to link the Psunami camera to AE.
https://www.digitalanarchy.com/tutes/psunami_camera-link.pdf
Hope it helps.Tudor “Ted” Jelescu
Senior VFX Artist -
I would try to see if you can key out the lights using a luma key. This way you can create a matte for the lights. You can then track the shot, create a bunch of rough masks around the lights on the matte layer, apply track data and animate the mask opacity to reveal the matte and bring back the light. (Basically Dave’s first suggestion applied to a moving shot).
Tudor “Ted” Jelescu
Senior VFX Artist -
Overall it looks interesting – nice grading. My biggest issue is with the fact that you can still see the bottom frame of the green screen between his legs.
Tudor “Ted” Jelescu
Senior VFX Artist -
I did some more tests and it seems it still has the same issues- basically you need an expression that will compensate on each axis for the rotation that happens on the other axis. Since I am not really an expressions master, I was not able to figure it out, but was worth giving it a shot- at least it gave me a great idea for setting up a rig for animating tires in AE. Post a question on the expressions forum, if you did not already, and you may find an answer there.
Tudor “Ted” Jelescu
Senior VFX Artist -
Also, if you have the budget for it, use Cineform’s neoscence to transcode the footage from h.264 .mov- 4:2:0 to 10bit avi 4:2:2 for better keying.
Tudor “Ted” Jelescu
Senior VFX Artist -
For best result convert the footage to a lossless format. TGA sequence or QT Animation or the like. Keying will work better this way. Still, you may have some hair issues- worth giving it a try though.
Tudor “Ted” Jelescu
Senior VFX Artist