Return-Path: Received: from mail-da0-f41.google.com ([209.85.210.41] verified) by media-motion.tv (CommuniGate Pro SMTP 4.2.10) with ESMTP-TLS id 4891734 for AE-List@media-motion.tv; Mon, 05 Nov 2012 23:06:23 +0100 Received: by mail-da0-f41.google.com with SMTP id i14so2599254dad.28 for ; Mon, 05 Nov 2012 14:09:21 -0800 (PST) DKIM-Signature: v=1; a=rsa-sha256; c=relaxed/relaxed; d=gmail.com; s=20120113; h=from:mime-version:content-type:subject:date:in-reply-to:to :references:message-id:x-mailer; bh=In5eUJHFjbk0FuZn8prtf1GznJmg9CDRTyh5mYbiKKA=; b=L1C6J59uwAM0iFtAtvpY6R/Iln+37WvRkKKy0/CuaHn7Fq/OD9oOI1ED+m9O4/GNcP hKcA/N/Do/weNXNJQ89noLbItXwZjaHcJfNz0FXvNtSD1ub73gS5nbUDoTaOlqp0gFW1 8CVsQw2wT/TW0Iwsh/wPwmyoEI9MKyfTjsTfvzc/m23r5EV0RLP5SYCRNWZIo/MyPlYz 8xa8DYn+uojIjHJBylAiRC3TNaFq6/59975no5Fxubt2gR/pJHiP/U9JXHVTRC11wqII Y1IvlJyUz4VGJ3KGOHUb6NGCAujroyIpIHrggb3rI7qU2XtX4qNz6ZaMa4eRjMVXkdZ3 m/WA== Received: by 10.69.1.1 with SMTP id bc1mr34343332pbd.102.1352153361459; Mon, 05 Nov 2012 14:09:21 -0800 (PST) Return-Path: Received: from [192.168.0.191] ([96.24.71.45]) by mx.google.com with ESMTPS id hc4sm11158349pbc.30.2012.11.05.14.09.19 (version=TLSv1/SSLv3 cipher=OTHER); Mon, 05 Nov 2012 14:09:20 -0800 (PST) From: patrick siemer Mime-Version: 1.0 (Apple Message framework v1085) Content-Type: multipart/alternative; boundary=Apple-Mail-11-184001201 Subject: Re: [AE] pulling a better difference matte? Date: Mon, 5 Nov 2012 14:09:15 -0800 In-Reply-To: To: "After Effects Mail List" References: Message-Id: X-Mailer: Apple Mail (2.1085) --Apple-Mail-11-184001201 Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset=us-ascii Hey Teddy, Most jobs have at least one "Problem Shot". My best advice is swallow the bitter Roto-Pill. =20 Just hold your nose and get it over with quick. It is only 5 seconds, and made so much easier with Mocha! If you do it well enough, no one will ever know. =20 When you are finished, you will carry the experience with you forever, = and it will make you a better AE artist. The best rewards are the ones you give yourself. =20 carry on!, patrick siemer On Nov 4, 2012, at 2:19 PM, Teddy Gage wrote: > 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. >=20 > 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?=20 >=20 > 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 >=20 > --=20 > Animator & Editor > www.teddygage.com > Brooklyn >=20 --Apple-Mail-11-184001201 Content-Transfer-Encoding: quoted-printable Content-Type: text/html; charset=us-ascii Hey = Teddy,
  Most jobs have at least one "Problem = Shot".
My best advice is swallow the bitter Roto-Pill. =  
Just hold your nose and get it over with = quick.
It is only 5 seconds, and made so much easier with = Mocha!
If you do it well enough, no one will ever know. =  
When you are finished, you will carry the experience = with you forever, and it will make you a better AE artist.
The = best rewards are the ones you give yourself. =  

carry = on!,

patrick = siemer




On Nov 4, 2012, at 2:19 PM, Teddy Gage wrote:

     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


= --Apple-Mail-11-184001201--