Forum Replies Created
-
Posts
-
Oh well…guess you’re right about that…for viewing purposes, indeed, it’s pretty much impossible keying watching an interlaced frame!
It’s just that I don’t like processing my footage before keying, just for the purpose of not losing any data….seems it comes down again to take a good look and see if the results turn out right whatever method you use.For roto? Definitely interlace first, too. Or, slowing it all down 50%, using every field as a frame, roto over that, and then interlace the result again…ugh! Tried that once, never again…
In Flame…I can’t remember…in Combustion I always have composition settings set at “No Fields” and then render with Upper Field First on, for PAL video stuff that needs to be thrown back in the Avid. Seems to work.
But in Flame I guess you’re right, Loops. Wish I was behind one of those again, sure been a long time 😈Hi there!
Quote:What is best for greenscreen work. The interlaced Digital betacam og progressive IMX..?I didn’t know that IMX could record progressive, but as far as compression goes, Digital Betacam is better with a ratio somewhere near 2:1, whereas IMX is either 6:1, 4:1 or 3.3:1. Digital Betacam is 10-bits, but I’m not sure IMX is as well. So for sheer quality DB is the way to go, but: not progressive if this is what you’re after!
You could look into the Sony XDCAM format, which records progressive and I think uses the same MPEG-2 compression as IMX, only on a disc not on tape, which is cool.
I sat in on a rough keying test on the inferno once and the inferno guy was comparing the results of XDCAM greenscreen stuff with results on DigiBeta. His first impression was that the XDCAM compression could be seen zoomed in a zillion times, but he thought the keying results were satisfactory for such a format and definitely comparable to DB results.I’ve been working a lot with XDCAM material a lot lately (although no keying) and I think the quality is really good and of what I hear and see the quality comes closer to DigiBeta than IMX, but…could be foolin’ myself ’cause the numbers seem to tell somepin’ different. We’ll have to call Sony. 😛
Guess I should go and test some stuff with keying off of it as well!Quote:I always deinterlace my work (mostly commercials). Should I do my keying before de-interlacing?As a rule, I NEVER pull tricks or whatsoever with the material before doing anything with it, especially keying. In particular, playing with your fields will surely screw up edges. That’s the one thing you don’t want when keying. 😈
Well hope this helps a liitle and good luck!!! 😀 😀
Nope. As far as i know one cannot resize the workspace panel the way you would expect. However, somewhere in the interface settings you can set the workspace panel size in pixels (sorry can’t tell where exactly, not in front of it right now), though I think there’s a maximum value for this. And…I think this is only vertically, which is not want you want 😥 Check it out.
If you want the timeline to expand to almost fullscreen but keep it docked, press Shift+F11. Not an entire horizontal resize, but more space to work altogether 😈
Hope this helps!
I reckon you’re going for the “invisible man (that knocks around stuff)” effect?
Regardless of your shot count/length or format you’re shooting on, I think the following things could be helpful:
1. I’m not a lighting expert, but I would make sure your green performer is well and evenly lit to make the keying easier, and do not put too much effort in lighting the scene for the right atmosphere or mood. Too much contrast or shadows will not be benificial for how the green suit is lit. If possible, match these shots later in grading to the rest of your footage. In that case, shoot at least one shot of the correctly lit scene for later reference.
2. You probably already thought of this, but carefully plan how and with what you’re going to replace the “disappeared” portions of your image with. Don’t forget to shoot clean plates. Are all the replacements and stuff that gets knocked over going to be CG? Is the camera moving in some shots so that you will going need motion control and/or camera tracking software? If a shot is still, make sure you have a completely locked-off camera or else you will have.to track in plates later (which you will have to do very probably anyway!).
3. Paint & roto. Paint & roto. Paint & roto.
4. This may sound weird if you haven’t already thought of this (again), but if you want to knock stuff over “invisibly”, then some people hidden under a table pushing it up or items connected to pulling wires, to name a few simple things just might get you where you want without getting to much of a headache, and have a bit more fun in the process. (Everybody likes smashing stuff, right? :-)). Always remember, you don’t HAVE to use a computer….
Well hope these things weren’t too obvious, and hopefully a bit helpful.
Good luck anyhow, and if my tips don’t help, try posting some more specific info about your project; I’m sure everybody here wants to help out…See ya! 😛