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Markus Manninen

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About Markus Manninen

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  1. I saw the 15:57 min footage in Dolby 3D (regular theater). There's significant "stereo strobing" in the scenes that have a lot of horizontal movement (the usual problem in 3D theater projection). I can imagine it works better on IMAX 3D. I thought the choices made are bold and quite beautiful in it's execution. Looks like it will be an interesting ride for sure. The work Weta is doing (and maybe ILM too) is jaw dropping in amount and quality. Apparently we've seen nothing yet (according to people working on the visual effects down under). Some of the shooting style is surprisingly active. Can't wait to see the whole film.
  2. Make sure you understand how to deal with 24f (or 24p). http://docs.info.apple.com/article.html?artnum=306389 I just bought a Canon HF10 and it wasn't obvious what was going on. Markus
  3. That's pretty cool. Hadn't seen this one. Yeah, I agree. Panoramic tiles is what it looked like. Difficult to tell how well it was done looking at it on youtube. M
  4. Markus Manninen


    Thank you for the information. I've been eyeing this camera and I may just take the plunge after all once I am through my current project and have some time to dig in.
  5. :( yeah. I am about to look into Toxik to see what it brings to the table for a "mid end" solution.
  6. I agree with Walter. You may want to do some of the work in compositing. I've done some pretty successful grain addition using scanned film, black frames, or grey frames of film that can be added in compositing to emulate a look. If you have some of the material you are trying to match to, you may want to give some of the footage to your post people to see if they can use any of it to generate the "destruction" look to the material. Final color may be best dealt with in color timing. Depends on the severity of the look I suppose.
  7. Can you explain more the shot composition you are thinking of? I can see a couple of options. The most affordable one I can think of right now - similar to the video, where the guy was in a studio, and everything outside was a green screen stage, so that they could control the lighting, you can do something similar. The affordable way is basically to avoid foot contact visibility (environment contact) and camera rotations. Shoot the A camera on location using a straight track that you can "speed up" to make the actual background element you want. Time the changing light scenario out based on that. If you have the camera track with him walking (B camera) you can put him on a treadmill in a green screen stage. You can do a bunch of lighting rigs that allow you to make it look like time is passing by matching the timing of the A camera. You can probably do multiple takes and preview easily with a rough composite. If traffic lights need to hit the actor you are in for some timing experimentation. If some of the light rigs become visible, you will need to roto them out. If the A camera move has some natural wobble to it, you may want to stabilize the move and after compositing add some natural post wobble motion back, or the same wobble if you liked the original "speed up feel". Just a thought.
  8. Bob suggests a versatile approach. I agree. I've used this approach several times on commercials where you simply didn't have time or money to do it "the perfect way". The biggest problem you will have is matching the look (texture and lighting) between your foreground and background. If you keep it simple (fg set with actors against a clean green screen, and the bg as a cyc) then you can spend some serious time compositing the lighting to match (if you can try to get close on set it will be valuable). The closer to can get your fg set texture and color to match the better your shot getting it seamless. Don't skimp on the time you will spend in compositing. Nor the talent you use.
  9. True. But you can use those apps to export back a track into AE to use in your composite. I am not a huge fan of AE's 3D implementation, but it does work.
  10. Yes Lustre has a TGA file (RGA channels) where each channel works as a matte for your color correction. It's awesome. I wish it was unlimited mattes thou. One can dream.
  11. Keying is a bit of an art in my book. I've always relied on a great roto department for excellent extraction. The one's I've worked with are great at using the keyers and roto only what they have to. When you find a guy or gal like that, keep them, and don't tell anyone. It's a dirty little secret that we depend on them heavily in teh visual effects industry. You can't always have the green screen at a "comfortable" distance from your object, and at that point ti really becomes about good compositing. You will have so much spill in your subject that you need to color correct out after you have the mattes, that the two things need to work as one. That's truely an art. On that subject, I am going in to a post house soon to do the latter for a commercial I shot the live action elements for in December last year. Sigh. Wish me luck. :unsure: Markus
  12. Hm. There are so many interesting variables. I would say the first one... if I may be so bold... does the static camera work for you creatively for the shot? I like finding creative solutions that fit the the vision, and it sounds to me like you are giving something up by how you worded it. 1. Your transition effect. If you shoot without green screen you will need to roto a shape that creates the transition from behind the glass to infront the glass. You will most likely need to add some type of visual effect (bloom, glare, color, blur,...) where your matte outline animates to make the transition from behind to front visually believable. You wil need to do that by probably widening the outline of the matte to an area that you can work with. If you are really a composite freak, you can add some noise effect on the plane of the glass door to make it look like the ghost is actually affecting the door as it goes through it. If you can use a green screen approach, then you will actually already have a matte and can use matte choking instead of rotoscoping your transition. There's several ways to do that in After Effects. Just don't use the "simple choker". Brrggh. As far as interaction with the door and the transition the above is the same (using an effect with the matte outline). 2. If you are using a green screen, and if it is not important to see floor contact (shadows on the floor from the ghost), then you have more flexibility (I think someone else stated that). You don't have to perfectly line up the two shots, as long as they "line up" visually in the composite in After Effects. The green screen approach has one other positive - you can play around with the character lighting, a lot - and one negative - you need to get a clean green screen setup to not have to jump through hoops later in post. My 2 cents. Best of luck.
  13. The two sequences are actually quite different in execusion. The "old school" Superbad intro sequence can easily be done using a green screen. Or you can even do a low budget version. The most important aspect is to be able to create contrast between your actors and the background. If you can create contrast - either by keying (green screen or other) or color correcting your way to a black actor on a white background. Then you can either use the image as a matte (black and white) and apply the colors through the mattes. Or you can color correct your colors to achieve the colors you want. Depending on your software choice and the quality of your shoot material, one method may be easier - keying or color correcting. The iPod spots are actually a little more advanced. Mostly in what information they use from the shoot. First of all, the iPod cord (and sometimes the actual iPod) can clearly be viewed. There was also areas within the actors that were "brought out" in the post process.. Contact shadows with the floor was also exposed at times. I assume that there was a high quality green screen shoot behind all this, with some serious time making sure the key elements really came out (clean bg, clean characters, and cord), and then roto mattes were probably animated to reveal the areas that were of additional interest. Well, that's how I would've approached it anyway. What I love about the iPod spots is that they look so simple, yet have such a high level of finish revealing a real sense of creative detail and quality. While the Superbad intro is cool retro, the iPod spots are super cool modern. :ph34r: Best of luck. Markus
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