Well done sirDifference matteing is very inaccurate, invest in a large greenscreen. We're currently having to vector-paint in about 60 cloned people into one shot for our film, greenscreen wuould have saved us so much time.
(,
Sun 21 Nov 2004, 20:29,
archived)
But . . .Greenscreen would have meant that he couldn't interact with the background, which (as a video person) is what makes it impressive.
Well done again, sir!*
*You're just too damn good. Stop it now, I say!
(,
Sun 21 Nov 2004, 21:10,
archived)
Well done again, sir!*
*You're just too damn good. Stop it now, I say!
I use green screen tooI also have a blue screen, but I don't know the best settings to use in AE. Can you give me any advice?
(
Sheep!,
Sun 21 Nov 2004, 23:08,
archived)
sure,I actually emailed you a while back about Boxmobiles. The greenscreen work I've seen you do is good though, you seem pretty apt at it!
you can see why this is pretty soul-destroying though, frame by frame!
(,
Sun 21 Nov 2004, 23:14,
archived)
you can see why this is pretty soul-destroying though, frame by frame!
The link doesn't work I'm afraidThe problem I have with green screen is preserving the soft motion blurred edge to the footage, the keying seems to remove that
Edit: Got it to work now. Looks like a lot of work went into that.
(Edit: Got it to work now. Looks like a lot of work went into that.
Sheep!,
Sun 21 Nov 2004, 23:24,
archived)
Try copying and pasting this:www.secret7000.com/inquisitor/Comp%201_33.avi
Anyway, I know what you mean about the keying with moving footage. The best way round it I've come across is procedural matte creation, using a few different mattes pulled from your footage to compose into one final matte, then a bit of spill supression and light wrap and you're done.
EDIT: Brilliant tutorial: www.creativecow.net/show.php?forumid=1&page=/articles/onneweer_barend/keyingtut/index.html
(,
Sun 21 Nov 2004, 23:29,
archived)
Anyway, I know what you mean about the keying with moving footage. The best way round it I've come across is procedural matte creation, using a few different mattes pulled from your footage to compose into one final matte, then a bit of spill supression and light wrap and you're done.
EDIT: Brilliant tutorial: www.creativecow.net/show.php?forumid=1&page=/articles/onneweer_barend/keyingtut/index.html
YupI used exactly that technique to do this film. Couple of colour ranges and a difference matte, mainly for the edges. And some roto-matting for the hoover pipe. And lots of garbage mattes thrown in for good measure
( Sheep!,
Sun 21 Nov 2004, 23:35,
archived)
I also saw somethingabout blurring the backgound of what's behind the moving footage, which simultaneously gives lightwrap AND sorts out the problem with the blur. I suppose you'd make it by making an inverse matte of a copied layer of your background footage, heavily blur it and put it over the top of your foreground plate...
(,
Sun 21 Nov 2004, 23:45,
archived)