Return-Path: Received: from mail-qc0-f170.google.com ([209.85.216.170] verified) by media-motion.tv (CommuniGate Pro SMTP 4.2.10) with ESMTP-TLS id 5015328 for AE-List@media-motion.tv; Tue, 26 Mar 2013 22:49:58 +0100 Received: by mail-qc0-f170.google.com with SMTP id d42so3422607qca.1 for ; Tue, 26 Mar 2013 14:57:23 -0700 (PDT) DKIM-Signature: v=1; a=rsa-sha256; c=relaxed/relaxed; d=gmail.com; s=20120113; h=x-received:mime-version:in-reply-to:references:from:date:message-id :subject:to:content-type; bh=kE5eY+vG1dsdEBTYPXbzAIuFgDNyhIBFMgTrzDJVNeo=; b=dmj+g97fhID2YQQWuVs38yBIN8grKNZPQU4j7hJXNbdnTBtY1BgJH5hLtxkRsRNZXy aufB5Cu6VJBECsWp0LtEW2GsFiPpmdIjH6sGu4UtN8/8koX2c93NnNBm5/7gZiYRbV8o BMZC4D14rYUWq17if6JH0fEKqM7+SJmmi+0v8JRpUvlUUa5ZUd8fpwKPEC6uNb2UxXcG +vVMf8LzX4Z/CPFkXVnYWTasS8geNISaboIxJRwFMPL+xHkFsw4uPw5YvF/LRHVn3Tjd +ICTh96Se11ySPWCd78HMf2uJBmNgoIN1+25F83fBG3p+wNte62AUldw3Zpyj5nP+GhS ViYA== X-Received: by 10.49.53.33 with SMTP id y1mr10869994qeo.63.1364335043273; Tue, 26 Mar 2013 14:57:23 -0700 (PDT) MIME-Version: 1.0 Received: by 10.49.127.107 with HTTP; Tue, 26 Mar 2013 14:56:42 -0700 (PDT) In-Reply-To: References: From: Teddy Gage Date: Tue, 26 Mar 2013 17:56:42 -0400 Message-ID: Subject: Re: [AE] Adobe Refine Edge To: After Effects Mail List Content-Type: multipart/alternative; boundary=047d7bd76fc29beb4b04d8db0150 --047d7bd76fc29beb4b04d8db0150 Content-Type: text/plain; charset=ISO-8859-1 Just to build on what Chris said: 1. Before you start, pick several base frames in your clip, each with defining poses the character holds. Lock in your tolerance and color estimation settings. Never have a span longer than 50-100 frames, it takes forever to propagate if you need to revise those frames. You create new base frames by painting on a frame outside the span range (under the layer frame timeline). 2. Avoid revising frames whenever possible. Start work from each of your base frames and work sequentially frame to frame. DO NOT jump around between frames. This completely screws up the propagation. 3. Enhance the contrast with a filter (like levels or curves) in the effect stack before doing the roto work. The rotobrush picks up on details better. When you are done, freeze the propagation and turn off the effect for rendering. 4. Do not turn on smooth or refine mattes until you have finished and frozen the layers. 5. Use absolutely the fewest strokes possible to create each matte. If you make a mistake, don't paint over it. Undo it instead. Extra strokes mean extra processing and it can screw up the edge detection. 6. Start with the largest brush in each frame and work progressively smaller. Let the rotobrush do the work, don't waste time with small details that could be pulled out by changing your tolerance settings. On Tue, Mar 26, 2013 at 3:47 PM, Chris Meyer wrote: > Two tricks: > > - Roto Brush has to propagate from the Base Frame outward. Placing the > initial base frame closer to the middle instead of the start of the clip, > and/or creating multiple Base Frames, results in shorter spans that may > need to be propagated. > > - Once you have Segmentation Boundary you're happy with, click the Freeze > button in the lower right of the Layer Panel to pre-calculate and store the > time-consuming propagation. > > hope that helps - > Chris > > ________________________________________________ > Chris Meyer | Crish Design > http://www.crishdesign.com > > > On Mar 26, 2013, at 1:33 PM, Andrew Embury wrote: > > I don't deny the power, but do you have any info to point to to show some > of the technique's you speak of Teddy? > > - Andrew > > On 2013-03-26, at 3:24 PM, Teddy Gage wrote: > > Having worked extensively with the rotobrush, if it's taking forever you > may not be using it right. I learned this through brute force trial and > error, but if you do it right even huge complex masks propagate quickly. > You just have to work in chunks and do some counter-intuitive things. The > rotobrush is already pretty amazing > > On Tue, Mar 26, 2013 at 3:13 PM, Andrew Embury wrote: > >> Has the roto brush speed increased at all? >> >> - Andrew >> >> On 2013-03-26, at 2:55 PM, Chris Meyer wrote: >> >> Adobe released a sneak peek at a new technology for After Effects today, >> and was kind enough to give me permission to spill more of the beans. >> >> Short version: At last! A solution aside from keying to roto hair!!! >> >> Long version: >> http://provideocoalition.com/cmg_keyframes/story/adobe-refine-edge >> >> - Chris >> >> ________________________________________________ >> Chris Meyer | Crish Design >> http://www.crishdesign.com >> >> >> > > > -- > Animator & Editor > www.teddygage.com > Brooklyn > > > -- Animator & Editor www.teddygage.com Brooklyn --047d7bd76fc29beb4b04d8db0150 Content-Type: text/html; charset=ISO-8859-1 Content-Transfer-Encoding: quoted-printable Just to build on what Chris said:

1. Before you start, pick several = base frames in your clip, each with defining poses the character holds. Loc= k in your tolerance and color estimation settings. Never have a span longer= than 50-100 frames, it takes forever to propagate if you need to revise th= ose frames. You create new base frames by painting on a frame outside the s= pan range (under the layer frame timeline).

2. Avoid revising frames whenever possible. Start work from each of you= r base frames and work sequentially frame to frame. DO NOT jump around betw= een frames. This completely screws up the propagation.

3. Enhance th= e contrast with a filter (like levels or curves) in the effect stack before= doing the roto work. The rotobrush picks up on details better. When you ar= e done, freeze the propagation and turn off the effect for rendering.

4. Do not turn on smooth or refine mattes until you have finished and f= rozen the layers.

5. Use absolutely the fewest strokes possible to = create each matte. If you make a mistake, don't paint over it. Undo it = instead. Extra strokes mean extra processing and it can screw up the edge d= etection.

6. Start with the largest brush in each frame and work progressively sm= aller. Let the rotobrush do the work, don't waste time with small detai= ls that could be pulled out by changing your tolerance settings.

On Tue, Mar 26, 2013 at 3:47 PM, Chris Meyer <chris@crishdesign.com> wrote:
Two tricks:

=A0- Rot= o Brush has to propagate from the Base Frame outward. Placing the initial b= ase frame closer to the middle instead of the start of the clip, and/or cre= ating multiple Base Frames, results in shorter spans that may need to be pr= opagated.

=A0- Once you have Segmentation Boundary you're hap= py with, click the Freeze button in the lower right of the Layer Panel to p= re-calculate and store the time-consuming propagation.

hope that helps -
Chris

________________________________________________
Chris Meyer | Crish Des= ign
http://www.= crishdesign.com

On Mar 26, 2013, at 1:33 PM, Andrew E= mbury wrote:

I don't deny the power, but do you have any info to= point to to show some of the technique's you speak of Teddy?

- Andrew

On 2013-03-26,= at 3:24 PM, Teddy Gage <teddygage@gmail.com> wrote:

Having worked extensively with the rotobrush, if it's taking forev= er you may not be using it right. I learned this through brute force trial = and error, but if you do it right even huge complex masks propagate quickly= . You just have to work in chunks and do some counter-intuitive things. The= rotobrush is already pretty amazing

On Tue, Mar 26, 2013 at 3:13 PM, Andrew Embu= ry <aembury@gmail.com> wrote:
Has the roto brush speed increased at all?

- Andrew

= On 2013-03-26, at 2:55 PM, Chris Meyer <chris@crishdesign.com> wrote:

Adobe released a sneak peek at a n= ew technology for After Effects today, and was kind enough to give me permi= ssion to spill more of the beans.=A0

Short version: At l= ast! A solution aside from keying to roto hair!!!


<= div> =A0- Chris

________________________________________________
Chris Meyer | Crish Des= ign
http://www= .crishdesign.com




--
Animator & Editor
<= span style>www.tedd= ygage.com
Brooklyn




--
Animator & Editor
www.teddygage.com
Brooklyn
--047d7bd76fc29beb4b04d8db0150--