Tudor "ted" jelescu
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Aye! What the Great One (or not so..)said. Although in the not so long ago past, that really meant key, render, then roto then render, then comp then render…now a days you have the processing power to have it all done in one comp.
Tudor “Ted” Jelescu
Senior Compositor/VFX Artist -
Also, if you have access to Particle Illusion you can get a lot of nice presets of fire.
Tudor “Ted” Jelescu
Senior Compositor/VFX Artist -
Way too close to the green screen- rotoscoping all the way would save you some headache. Key out whatever you can as best as you can and leave the shadow area for a second pass.
Tudor “Ted” Jelescu
Senior Compositor/VFX Artist -
What is the comp size, what is the original size of footage, how much zoom? Any details you can provide will make it easier to get answers. Also if you can post screen shots that would help also.
If it’s just a matter of zooming in a clip the same size of your comp then it is normal to loose resolution.Tudor “Ted” Jelescu
Senior Compositor/VFX Artist -
Also- I just thought of this, you can use motion tile to extend the frame, no more need for the two layers and null.
Tudor “Ted” Jelescu
Senior Compositor/VFX Artist -
It’s a combination of a few things:
1- I think that a larger format frame is being used to shoot the scenes where the camera has movement- RED at 4k for example. You basically lock the camera on a tripod, shoot the same actor a few times with carefully choreographed moves for realistic interaction and then you comp the different shots on top of each other using masks or a clean plate. The result is a 4k plate with all the action of the clones in it. Then you can take that in a 2k or HD (even SD) comp and simulate the camera moves over the 4k plate.
2- For the shots where the camera spins 180, 2 shots in 4k can be used, shot with a wide angle lens. Using a lens distort filter one can simulate a camera rotation over the 2 plates. Of course a lot of pre production planning is needed.
3- some shots have the actor shot on chroma and then composited in over live action.
4- of course a motion control camera rig can be used, but I doubt it’s the case here.Tudor “Ted” Jelescu
Senior Compositor/VFX Artist -
That usually happened when the film came off the rollers and the frame was offset in front of the bulb from the projector.
You can easily obtain that effect by animating two layers of the footage parented to a null. Just offset the second layer on the Y axis so that the top edge of the frame will be under the bottom edge of the frame of the first layer. If you want to get more into it, you need to ad a mask on top of each layer that blackens the edge of the frame and rounds the corners, grain, flickers of light (using Levels for example) and many other little things.
Turning on Motion Blur will help.Tudor “Ted” Jelescu
Senior Compositor/VFX Artist -
I agree- the specs you’re using for the initial render and compression are very important.
Also, if you are using interlaced footage that is not interpreted the correct way it may cause jittery playback.Tudor “Ted” Jelescu
Senior Compositor/VFX Artist -
Full HD at best quality is never meant for playback, but for further work without loss of quality and archiving. It will play choppy.
Use that file to compress it to a playback codec like H264 through Adobe Media Encoder.
Also if you have Final Cut Pro, use Apple Pro Res codecs.Tudor “Ted” Jelescu
Senior Compositor/VFX Artist -
Do you have any 2D layers in between your 3D layers? That tends to upset AE sometimes- actually most times.
Tudor “Ted” Jelescu
Senior Compositor/VFX Artist