Red Blue Green

[terry silberman]

Short and sweet! 3D tracker and Massive artists working together. They will supply Red, Green, Blue passes of Massive elements. The question is: how are these R,G,B supplied layers utilized? What parameters are being adjust and where? Color correcter? Any readings would be greatly appreciated. Thank you

[claudio antonelli]

I’m a bit confused about the question, but generally R,G and B layers are used as multiple mattes since you can get three of them per image file. Just Mono R, G or B them into mattes and use them like usual.

[Martin Furness]

Thanks Andy, really appreciate it. One more question. My 3d Artist has supplied me with an FBX of Camera information. Is there a formula when I add an image to have it line up?

[claudio antonelli]

3d cameras can be a mother. I wrote up a tutorial here that should explain it okay (typos and all) but the basic rule is to make sure that the point cloud (in flame it’ll be a ton of axis nodes) that traditionally comes along with a tracked camera sticks to your backplate, and then place whatever you’re tracking in in the same space and on the correct plane

http://2dthunder.blogspot.com/2010/04/camera-tracking-3d-space-and-other.html
http://2dthunder.blogspot.com/2010/04/camera-tracking-3d-space-and-other_03.html

If they only gave you a camera and no point cloud then it’s either sending it back to 3d to get some concrete locators in the 3d space, or trial and error until it sticks right. If you’re going the trial and error route, precomp EVERYTHING beforehand so you can have scrubable speed, because it’ll make all the difference in sorting out your spatial relationships.

There’s also the chance that it’s a tripod move (camera only tilting, rolling, panning–no translating in space) in which case things should stick super easily. Since you’re asking, I’m guessing this is not the case. Haha.

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