Return-Path: Received: from mail-lb0-f169.google.com ([209.85.217.169] verified) by media-motion.tv (CommuniGate Pro SMTP 4.2.10) with ESMTP-TLS id 4890788 for AE-List@media-motion.tv; Sun, 04 Nov 2012 23:17:41 +0100 Received: by mail-lb0-f169.google.com with SMTP id k6so3392270lbo.28 for ; Sun, 04 Nov 2012 14:20:39 -0800 (PST) DKIM-Signature: v=1; a=rsa-sha256; c=relaxed/relaxed; d=gmail.com; s=20120113; h=mime-version:from:date:message-id:subject:to:content-type; bh=dfZ935JFye1onq8UTJmsYDfLZAG6aXxksY7KkbJOCis=; b=v+aWXigmV/ddOzMECBl4BdugLcy4jr5ZJ9GbpVYIOHg+Hzm/Cmg3xevID5KFusHKAK zyIizIQGrh2K/mzxqUiSQany/eI82shwtFkqSmJncuWY2ogrZ2dxWD74j7VTqMPSSb3O wPTuH0i00jfxFc59kJ0WEJPaf+ThHsvw+UNxjf/2efAdPWseX0GyluQVVM14oKBdHp/w sdYNaCln+FXWcZDlOD7NsxYggjGcYvr8iilx5goaheDLDLLkC7sc2aEerzABa2dySS0j KhI5Jq6iHslOKxZcb5qksIKnTeXNQNlYoECChiVPe/dyCrNJhnTmTyTSBjgYf/fz7GWm BR+Q== Received: by 10.112.50.106 with SMTP id b10mr3255700lbo.122.1352067639692; Sun, 04 Nov 2012 14:20:39 -0800 (PST) MIME-Version: 1.0 Received: by 10.112.44.67 with HTTP; Sun, 4 Nov 2012 14:19:59 -0800 (PST) From: Teddy Gage Date: Sun, 4 Nov 2012 17:19:59 -0500 Message-ID: Subject: pulling a better difference matte? To: After Effects Mail List Content-Type: multipart/alternative; boundary=f46d0401fe59604d2a04cdb2c7df --f46d0401fe59604d2a04cdb2c7df Content-Type: text/plain; charset=ISO-8859-1 Hello, I'm working on an indie film and they have presented me with some "interesting technical challenges," to put it diplomatically. The current shot I'm working on is two actors getting riddled with bullets, with no practical effects or greenscreen. I am adding blood, bullet holes, dust, smoke and glass. they are flailing about like rag dolls then go down. It lasts about five seconds. There are rows of shelves behind them with glass bottles that stay intact throughout the shot. In a separate shot, the director then pulled the bottles off the shelves using strings, and the two shots need to be composited together. If only the actors had been shot on greenscreen, this would be easy. But there are enough changes between shots that a difference key only gets me about 50% of the way there. However this ancient effect is not 32-bit, has awful controls, and it's almost impossible to get a clean difference matte; half the background is pulled into the effect and I cannot cleanly separate the actors. Of course, I could roto actors out of the scene, then lay them on top of the glasses breaking, but I'd like to avoid this. Are there any tools that are better for pulling out a motion matte from a static background other than difference matte? Or is there another way to do this I'm not thinking of? The approach I currently have going is to pull a difference key of the bottles flying off the shelves from the static shot, then to roto the actors' arms etc. in just the regions where they intersect with the bottles. This way it appears the bottles are being shot up behind the actors, as they should be. This at least saves me from having to do a full roto of each actor against the background. Would love to hear any other suggestions, thanks TG -- Animator & Editor www.teddygage.com Brooklyn --f46d0401fe59604d2a04cdb2c7df Content-Type: text/html; charset=ISO-8859-1 Content-Transfer-Encoding: quoted-printable =A0=A0=A0=A0 Hello, I'm working on an indie film and they have presente= d me with some "interesting technical challenges," to put it dipl= omatically. The current shot I'm working on is two actors getting riddl= ed with bullets, with no practical effects or greenscreen. I am adding bloo= d, bullet holes, dust, smoke and glass. they are flailing about like rag do= lls then go down. It lasts about five seconds. There are rows of shelves be= hind them with glass bottles that stay intact throughout the shot. In a sep= arate shot, the director then pulled the bottles off the shelves using stri= ngs, and the two shots need to be composited together. If only the actors h= ad been shot on greenscreen, this would be easy. But there are enough chang= es between shots that a difference key only gets me about 50% of the way th= ere. However this ancient effect is not 32-bit, has awful controls, and it&= #39;s almost impossible to get a clean difference matte; half the backgroun= d is pulled into the effect and I cannot cleanly separate the actors.

Of course, I could roto actors out of the scene, then lay them on top o= f the glasses breaking, but I'd like to avoid this. Are there any tools= that are better for pulling out a motion matte from a static background ot= her than difference matte? Or is there another way to do this I'm not t= hinking of?

The approach I currently have going is to pull a difference key of the = bottles flying off the shelves from the static shot, then to roto the actor= s' arms etc. in just the regions where they intersect with the bottles.= This way it appears the bottles are being shot up behind the actors, as th= ey should be. This at least saves me from having to do a full roto of each = actor against the background. Would love to hear any other suggestions, tha= nks
TG

--
Animator &a= mp; Editor
www.teddygage.= com
Brooklyn

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