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  1. Hello, I'm using Resolve 18 to key some Canon Raw green screen footage. Everything goes relatively smoothly until I adjust the Matte threshold. The Alpha channel looks pure white, but the footage gets black splotchy / grainy. I can't find any work arounds to get rid of this. I believe my footage is exposed well. I tried a quick Colorspace transforms (guessing settings) in my node tree to see if more saturated footage would help, but it did not. I tried as many different workflow attempts as I could find. I used a clean plate as the keyer color, and the footage still gets the black dots. When changing view mode to intermediate result it did seem to get rid of the black dots but the green background came back at half transparency, so I assumed it wasn't working? I also tried the 3d Keyer and got a nice result with no grain, but the mask had a green outline. Is this a better keyer than the delta?
  2. Hi all, I recently shot with my first rear projection screen, and not until we were shooting did I notice a feeling of “lag” or “drag” in what was being projected. Talent was directly up against the screen, with top down footage of ocean waves going by. I felt a very, very subtle stutter in the footage that was not perceivable by eye. Unfortunately this was an incredibly rushed setup so did not have time to ask for specs/adjustments. Could anyone advise as to what may cause this, and what solutions may exist?
  3. The general consensus is that this is the future. Do you guys believe cinematographers will also have to become decent in it in the future? Or will that stuff be left to the VFX people?
  4. LOS ANGELES, (June 18, 2020) – Sohonet, the global experts in connectivity, media services and network security for the media and entertainment industry, announced their partnership with Moxion and its revolutionary platform for HDR Immediates and Cuts. The partnership broadens the range of remote collaboration solutions Sohonet can now offer the production, post and visual effects communities. The partnership will provide the production, post and visual effects communities with a distinct set of tools designed to enable both synchronous and asynchronous remote review to suit every use case. For review discussions that depend on real-time iteration and response, Sohonet ClearView Flex provides teams with a high-quality, secure solution. Moxion Immediates provides an equivalent experience for offline review. “Moxion is a great match for Sohonet, they understand the unique challenges that productions face, and share our vision: to revolutionise the way storytellers create content by making collaboration seamless and more secure,” says Sohonet CEO Chuck Parker. “While real-time review is a key component to the production workflow, often the whole team can’t meet for a live review session. Partnering with Moxion gives our customers space to review content in their own time.” Moxion’s Immediates offers a platform to review footage in HDR minutes after filming on the same devices as ClearView Flex (Apple TV, iPads, laptop). On-set creatives can start on mark-ups immediately and give off-set creatives the same near-real-time HDR access to the content. Additionally, editorial and VFX teams can download the high-resolution proxy to begin adding their magic rather than having to wait for it to arrive hours later after a transcoded dailies workflow. “Offering Sohonet’s real-time tool, Clearview Flex, with our offline review technology makes perfect sense,” says Hugh Calveley, CEO of Moxion. “The ability to harness the power of live review and incorporate it, with the convenience of offline collaboration, will be an extremely valuable toolkit for filmmakers.” “Right now productions are having to navigate a new normal due to COVID-19, with reduced numbers on-set, additional location challenges and more distributed team members. Sohonet and Moxion are perfectly placed to help support them from green-light to wrap,” added Parker.
  5. I’m looking for a set designer and editor for my short film. I’m shooting a horror short film. I reside in Massachusetts. I’m looking for a video editor and set designer.
  6. Hello, I'm preparing to shoot a music video. I have an idea for a shot where you can see infinite space behind the object filled with colored or colorless mist. The reference shot is from the new Bladerunner trailer. My goal is to place a car on the foreground like it's in the middle of nowhere. Most of the shots will be inside the car but I need to sustain this look in the windows without green screen. How I can achieve that on a tight budget? Would it be easier to accomplish shooting outside or indoors? With dark or light background? Many thanks in advance!
  7. Hey everybody! As newcomer to the film, I released my first short film "The Whistle" two years ago. The short film hits the 500k clicks relatively quickly. I invested another year to write a story and create a second part. At the end of 2018, I shot the second part of the "The Whistle" series. Even this already counts 700k clicks on Youtube and became thus a worthy successor. In January, my latest low-budget project has started: "THE WHISTLE 3 | MARIA". It was a big challenge for me and my friends. A lot of time flowed into the post-processing because I wanted to create a completely new world and jump back to the year 1870. I took a big step forward and would like to present the result I really hope you like it: BTW: I created a VFX Breakdown to this horror short film to show what's behind my low budget production:
  8. Hey folks, Got a commercial coming up which I'm shooting and I'm wondering if there's a way to get this stop motion effect out of a digital film camera, either in camera or through post-production, instead of the more typical stills camera method. Assuming this is possible via digital film camera and that my concern is to get a sharp image every time, would the mean a narrow/low shutter angle and a normal frame rate (24 or more)? Or is my reasoning completely skewed here? When I think about it though it seems silly not to shoot this on a stills camera.
  9. HI all, I am currently working of music video and have various scenes where I need to overlay a computer face on an old monitor in after effects. The problem I have been having is that it looks a bit off to me, which you may be able to see from the example I've attached. I think this is in large part due to the shape which need to be three dimensional not looking right. I have used a bulge effect but doesn't seem to give the impression of a symmetrical rounded shape and I think looks slightly off quilter. If anyone has any ideas of how I could improve this I would be very interested to hear. Thanks.
  10. Pacific Post, a full-service editorial equipment rental and services provider, has expanded its footprint with the opening of a new 10,000 square-foot facility in Sherman Oaks. The new location offers 25 spacious Avid suites with 24/7 technical support, alongside a writer’s room and several production offices. Pacific Post has retrofit the entire site which is supported by Avid NEXIS shared storage, 1 gigabyte of dedicated fiber internet connectivity, and individually climate-controlled rooms. “We recently provided equipment and services to the editorial team on Game Over, Man! for Netflix in Sherman Oaks, and continued to receive inquiries from other productions in the area,” says Pacific Post Vice President Kristin Kumamoto. “The explosion we’ve seen in scripted production, especially for streaming platforms, prompted our decision to add this building to our offerings.” Kumamoto notes that a screening room is also near completion for accommodating multiple members of the creative team on a project. It features a 150-inch screen and JVC 4K projector for VFX reviews and an enhanced, in-house viewing experience. Additional amenities at Pacific Post Sherman Oaks include MPAA-rated security, reserved parking, a full kitchen and lounge, VoIP phone systems, a substantial electrical infrastructure. “We are laser focused on serving the needs of the editorial community,” adds Kumamoto. “This expansion provides our high level of services at one convenient location with the technical expertise that clients have come to trust here at Pacific Post.” In addition to this new state-of-the art space, Pacific Post also has facilities in Hollywood and North Hollywood. This third location at 14225 Ventura Boulevard offers a best-in-class option for productions working in the San Fernando Valley area of Los Angeles. For more information, visit www.pacpost.com.
  11. Hi there, 15 years ago me an some friends of mine worked on a corny little fantasy project (http://www.candlekeep.com/library/articles/tdod.htm) that was never really finished. I am now working to restore one scene of that project to use it a a template for my film music compositions. Although I am making good progress in re-cutting and dubbing that scene, I am still lacking a visual fire effect for one very short sequence and don't how to implement that kind of vfx. Here is that short sequence: Do you know any small tool/program (best free- or trialware) to quickly create some kind of a ray of fire (until 0:04) and some gout of flame (from 0:04 on) around these little monsters? It doesn't has to look particularly good, it just has to be recognizable. If you want to try it yourselves, I've uploaded the sequence to dropbox: https://www.dropbox.com/s/op1crkcjxkv1ezi/Feuerzauber-Effekt.avi?dl=0 Best regards and many thanks in advance Dustin
  12. The Hollywood Professional Association (HPA®) has opened its Call for Entries in Creative Categories for the 12th annual HPA Awards. These awards are considered standard-bearing honors for groundbreaking work and artistic excellence, recognizing creative artistry in color grading, editing, sound, and visual effects in feature film, television, and commercials. The HPA Awards shine a spotlight on talent, innovation and engineering excellence in the professional media content industry. The 12th annual gala awards presentation will be held on the evening of November 16, 2017 at the Skirball Cultural Center in Los Angeles, California. Entries are now being accepted in the following competitive categories: Outstanding Color Grading - Feature Film Outstanding Color Grading - Television Outstanding Color Grading - Commercial Outstanding Editing - Feature Film Outstanding Editing - Television Outstanding Editing - Commercial Outstanding Sound - Feature Film Outstanding Sound - Television Outstanding Sound - Commercial Outstanding Visual Effects - Feature Film Outstanding Visual Effects - Television Outstanding Visual Effects - Commercial Entries for the Creative Categories will be accepted between May 15 and July 10, 2017, and Early Bird Entries (reduced entry fee for the Creative Categories) will be accepted through June 12, 2017. To be considered eligible, work must have debuted domestically and/or internationally during the eligibility period, September 7, 2016 through September 5, 2017. Entrants do not need to be members of the Hollywood Professional Association or working in the U.S. As announced previously, the Call for Entries remains open for the Engineering Excellence Award, which will be bestowed at the November gala until May 30th, 2017. Additional special honors, including the HPA Lifetime Achievement Award, will be announced in June. Seth Hallen, President of the HPA and a founding member of the HPA Awards Committee, commented, “The HPA Awards have grown into an unmissable evening, bringing the creative community together. The judging is peer driven, so these honors resonate to winners and nominees alike. In the past 12 years, we have judged and honored the most compelling creative work. And, every year, in every category, the submissions are of the highest caliber. I sincerely encourage individuals and companies to enter the HPA Awards. It’s where we show the world the talent, fierce dedication and hard work behind the story. We look forward to another very special event on November 16th." Complete rules, guidelines and entry information for the Creative Categories and all of the HPA Awards are available at: www.hpaawards.net. For a list of the previous years' winners, click here. The HPA Awards are made possible through the generous sponsorship of Foundation Members Avid, Co3, Deluxe, Dolby, EFILM, and Encore; and Platinum Sponsors IMAX and Sohonet. For sponsorship or program advertising opportunities, contact Jeff Victor at jvictor@hpaonline.com or calling 213.614.0860. Opening of ticket sales will be announced shortly.
  13. Hey guys, long time lurker here but this is my first post. Feel free to move my post to the right forum if necessary So I got a script set in an airplane. It is a transcontinental flight, NY to Sao Paolo which are 90% of the time flying in big 767 or 777s (don't remember which one is which). These are usually in the 2-5-2 seating configuration I think. Big plane. And because of our budget we'll get to shoot in one of these: Bombardier CRJ 200 https://www.amaszonas.com/images/nuestra_flota/galeria/amaszonas_crj_200_34.jpg This is an indie short being made in Paraguay and we have to make this plane work. Now, I'm left to figure out if there is a way to shoot for a set extension in post where we can enlarge the plane and create that middle row. Ideally this would only be necessary on the wides and aisle looks but it's such a small plane I'm afraid it'll affect most shots in the aircraft. I also like to shoot wide so that won't help with hiding distances between seats, side to side and such. Would love to hear your ideas on this. Have any of you ever had to extend a small set like this? Ever shoot in planes, buses? Any tips? I appreciate it!
  14. Hollywood Professional Association Unveils HPA Awards Nominees Creative nominations announced for editing, sound, visual effects and color grading 28 September 2016 (Los Angeles, CA) - The Hollywood Professional Association® (HPA) today announced the nominees for its 2016 HPA Awards. Considered the standard-bearer for excellence and innovation in an industry embracing an expanding array of groundbreaking technologies and creativity, the HPA Awards honor creative achievement and artistic excellence. Launched in 2006, the HPA Awards recognize outstanding achievement in editing, sound, visual effects and color grading for work in television, commercials, and feature films. The winners of the 11th Annual HPA Awards will be announced at a gala ceremony on 17 November 2016 at the Skirball Cultural Center in Los Angeles, CA. The 2016 HPA Award nominees are: Outstanding Color Grading - Feature Film "Carol" John Dowdell // Goldcrest Post Productions Ltd "The Revenant" Steven J. Scott // Technicolor Production Services "Brooklyn" Asa Shoul // Molinare "The Martian" Stephen Nakamura // Company 3 "The Jungle Book" Steven J. Scott // Technicolor Production Services Outstanding Color Grading - Television "Vinyl - E.A.B" Steven Bodner // Deluxe/Encore NY "Fargo - The Myth of Sysiphus" Mark Kueper // Technicolor "Outlander - Faith" Steven Porter // MTI Film "Gotham - By Fire" Paul Westerbeck // Encore Hollywood "Show Me A Hero - Part 1" Sam Daley // Technicolor PostWorks NY Outstanding Color Grading - Commercial Fallout 4 - "The Wanderer" Siggy Ferstl / Company 3 Toyota Prius - "Poncho" Sofie Borup // Company 3 Nascar - "Team" Lez Rudge // Nice Shoes Audi R8 - "Commander" Stefan Sonnenfeld // Company 3 Apple Music - "History of Sound" Gregory Reese // The Mill Pennzoil - "Joyride Circuit" Dave Hussey // Company 3 Hennessy - "Odyssey" Tom Poole // Company 3 Outstanding Editing - Feature Film "The Martian" Pietro Scalia, ACE "The Revenant" Stephen Mirrione, ACE "The Big Short" Hank Corwin, ACE "Sicario" Joe Walker, ACE "Spotlight" Tom McArdle, ACE Outstanding Editing - Television "Body Team 12" David Darg // RYOT Films "Underground - The Macon 7" Zack Arnold, Ian Tan // Sony Pictures Television "Vinyl - Pilot" David Tedeschi "Roots - Night One" Martin Nicholson, ACE, Greg Babor "Game of Thrones - Battle of the Bastards" Tim Porter, ACE Outstanding Editing - Commercial Wilson - "Nothing Without It" Doobie White // Therapy Studios Nespresso - "Training Day" Chris Franklin // Big Sky Edit Saucony - "Be A Seeker" Lenny Mesina // Therapy Studios Samsung - "Teresa" Kristin McCasey // Therapy Studios Outstanding Sound - Feature Film "Room" Steve Fanagan, Niall Brady, Ken Galvin // Ardmore Sound "Eye In The Sky" Craig Mann, Adam Jenkins, Bill R. Dean, Chase Keehn // Technicolor Creative Services "Batman VS Superman: Dawn of Justice" Scott Hecker // Formosa Group Chris Jenkins, Michael Keller // Warner Bros. Post Production Services "Zootopia" David Fluhr, CAS, Gabriel Guy, CAS, Addison Teague // Walt Disney Company "Sicario" Alan Murray, Tom Ozanich, John Reitz // Warner Bros. Post Production Services Outstanding Sound - Television "Outlander - Prestonpans" Nello Torri, Alan Decker // NBCUniversal Post Sound "Game of Thrones - Battle of the Bastards" Tim Kimmel, MPSE, Paula Fairfield, Mathew Waters, CAS, Onnalee Blank, CAS, Bradley C. Katona, Paul Bercovitch // Formosa Group "Preacher - See" Richard Yawn, Mark Linden, Tara Paul // Sony Sound "Marco Polo - One Hundred Eyes" David Paterson, Roberto Fernandez, Alexa Zimmerman, Glenfield Payne, Rachel Chancey // Harbor Picture Company "House of Cards - Chapter 45" Jeremy Molod, Ren Klyce, Nathan Nance, Scott R. Lewis, Jonathan Stevens // Skywalker Sound Outstanding Sound - Commercial Sainsbury's - "Mog's Christmas Calamity" Anthony Moore, Neil Johnson // Factory Save the Children UK - "Still The Most Shocking Second A Day" Jon Clarke // Factory Wilson - "Nothing Without It" Doobie White // Therapy Studios Honda - "Paper" Phil Bolland // Factory Honda - "Ignition" Anthony Moore // Factory Outstanding Visual Effects - Feature Film "Star Wars: The Force Awakens" Jay Cooper, Yanick Dusseault, Rick Hankins, Carlos Munoz, Polly Ing // Industrial Light & Magic "The Jungle Book" Robert Legato, Andrew R. Jones Adam Valdez, Charley Henley // MPC Keith Miller // Weta Digital "Captain America: Civil War" Russell Earl, Steve Rawlins, Francois Lambert, Pat Conran, Rhys Claringbull // Industrial Light & Magic "The Martian" Chris Lawrence, Neil Weatherley, Bronwyn Edwards, Dale Newton // Framestore "Teenage Mutant Ninja Turtles: Out of the Shadows" Pablo Helman, Robert Weaver, Kevin Martel, Shawn Kelly, Nelson Sepulveda // Industrial Light & Magic Outstanding Visual Effects - Television "Supergirl - Pilot" Armen V. Kevorkian, Andranik Taranyan, Gevork Babityan, Elaina Scott, Art Sayan // Encore VFX "Ripper Street - The Strangers' Home" Ed Bruce, Nicholas Murphy, Denny Cahill, John O'Connell // Screen Scene "Black Sails - XXI" Erik Henry // Starz Matt Dougan // Digital Domain Martin Ogren, Jens Tenland, Nicklas Andersson // ILP "The Flash - Gorilla Warfare" Armen V. Kevorkian, Thomas J. Conners, Andranik Taranyan, Gevork Babityan, Jason Shulman // Encore VFX "Game of Thrones - Battle of the Bastards" Joe Bauer, Eric Carney // Fire & Blood Productions Derek Spears // Rhythm & Hues Studios Glenn Melenhorst // Iloura Matthew Rouleau // Rodeo FX Outstanding Visual Effects - Commercial Sainsbury's - "Mog's Christmas Calamity" Ben Cronin, Grant Walker, Rafael Camacho // Framestore Microsoft Xbox - "Halo 5: The Hunt Begins" Ben Walsh, Ian Holland, Brian Delmonico, Brian Burke // Method Studios AT&T - "Power of &" James Dick, Corrina Wilson, Euna Kho, Callum McKeveny // Framestore Kohler - "Never Too Next" Andy Boyd, Jake Montgomery, Zachary DiMaria, David Hernandez // JAMM Gatorade - "Sports Fuel" JD Yepes, Richard Shallcross // Framestore Recipients of a number of special awards have been previously announced by the HPA. Herb Dow, ACE, will be honored with the 2016 Lifetime Achievement Award. Michelle Munson, CEO of Aspera, will receive The Charles S. Swartz Award, and The Mill BLACKBIRD has been tapped to receive the HPA Judges Award for Creativity and Innovation. Winners of the coveted Engineering Excellence Award include Aspera, Grass Valley, RealD and SGO. Grass Valley and Canon USA received Honorable Mention in the Engineering Excellence category. The HPA Awards gala ceremony is expected to be a sold out affair and early ticket purchase is encouraged. Tickets for the HPA Awards are on sale now and can be purchased online at www.hpaawards.net. For all inquiries and sponsorship information, call the HPA at +1 (213) 614-0860 or email at info@hpaawards.net. More information about the HPA Awards and the Hollywood Professional Association can be found at www.hpaonline.com. Blackmagic Design, NAB Show, AVID, Company 3, Deluxe, Dolby, EFilm, Encore, IMAX, Sohonet and Sony are among the sponsors of the 2016 HPA Awards. ### About the HPA® Awards The HPA Awards were created to foster awareness and recognize the achievements of the individuals and companies that have contributed to groundbreaking technologies and creative excellence within the professional media content industry, and build involvement in the Hollywood Professional Alliance. The HPA is a partner of the Society of Motion Picture and Television Engineers® (SMPTE®). Information about the HPA Awards is available at http://www.hpaonline.com. The HPA Awards will be presented with generous support from Foundation Members and sponsors. About the Hollywood Professional Association Hollywood Professional Association (HPA) serves the professional community of businesses and individuals who provide expertise, support, tools and the infrastructure for the creation and finishing of motion pictures, television, commercials, digital media and other dynamic media content. Through their partnership with the Society of Motion Picture and Television Engineers® (SMPTE®), the leader in the advancement of the art, science and craft of the image, sound, and metadata ecosystem, the HPA continues to extend its support of the community it represents. Information about the HPA is available at www.hpaonline.com. About the Society of Motion Picture and Television Engineers® (SMPTE®) Winner of an Oscar® and multiple Emmy® Awards, the Society of Motion Picture and Television Engineers® (SMPTE®) is a global leader in the advancement of the art, science, and craft of the image, sound, and metadata ecosystem. A professional membership association that is internationally recognized and accredited, SMPTE advances moving-imagery education and engineering across the communications, technology, media, and entertainment industries. For a century, SMPTE has published the SMPTE Motion Imaging Journal and developed more than 800 standards, recommended practices, and engineering guidelines. Nearly 7,000 members - motion-imaging executives, engineers, creative and technology professionals, researchers, scientists, educators, and students - who meet in Sections worldwide, sustain the Society. Through the Society's partnership with Hollywood Professional Association (HPA®), this membership is complemented by the professional community of businesses and individuals who provide the expertise, support, tools, and infrastructure for the creation and finishing of motion pictures, television programs, commercials, digital media, and other dynamic media content. Information on joining SMPTE is available at http://www.smpte.org/join. Media Contact: ignite strategic communications christine purse | kate eberle +1 818 980 3473 | chris mobile: +1 323 806 9696 chris@ignite.bz | kate@ignite.bz
  15. Hey Guys, This may be a very dumb question, but how does apple film their app and iPhone commercials without the hands shaking while holding the device? Here is an example: https://www.youtube.com/watch?v=szrsfeyLzyg At first I thought they utilized two separate layers, one for the hand holding the device and one for the finger swiping, and comped the two together. The layer with the hand holding the device almost appeared to be a still image, but what confused me was that I saw shadow movement on it when the finger swipes... Do they have a rig attached to the phone to keep it steady or stabilize the footage in post? Do they green screen and then comp? -Sam
  16. Greetings, First off, my apologies for not writing a shorter and more concise piece. I will revise this post as time permits - Think of this as a living document. During a recent creative meet for an upcoming short, the idea emerged to simulate parts of a living room appearing on fire during a dramatic dialogue scene The thought is to simulate fire illumination and smoke and composite pyro physical effects plates in during post. We will be shooting this in 8K anamorphic at low compression ratios Think of the end sequence of "Barton Fink" and some scenes from "Synecdoche, New York" This is for a micro/no budget production by former film students & both semi pros and serious pros as a portfolio/fun/festival/creative piece. We are using our own camera and a lot of gear, and renting additional lights/grip/stuff as need WE HAVE NO INTENTION OF SETTING THE SET ON FIRE NOR IS ANYONE PAYING US TO MAKE THIS The idea we are kicking around is that during a sequence of a couple locked off shots, two people are sitting on a couch exchanging drama rich dialogue, and in the background(maybe out of focus) we see curtains and the wall on fire. additionally, we also want to have fire/smokes elements appearing in front of the talent. Think of the subjects as being sandwiched between fire elements. Something sorta like these, but as static/locked shots Barton Fink Fire scene: https://youtu.be/P_8O-iDvlmA Synecdoche's Burning House https://youtu.be/SF9yFCSICE8 How to set a living room on fire: https://youtu.be/yLqVmBeJre4 Our thoughts on how to achieve this look so far: 1) bouncing a 1K tungsten (maybe a couple of 650s) off a gold reflector to simulate the fire flicker - this would be similiar in application as using a silver reflect to simulated water reflection from moonlight 2) candles + incense in front and underneath the frame to provide heat warping and some smoke during principle 3) Make fire plates and luma map - Match and duplicate the angles/distance of the camera in relationship to the set, hang curtains in a dark area in front of black, such as in a cleared warehouse or on a paved surface somewhere remote (maybe at night), make sure they are similar in setup to the hot set, set them on fire - then luma map the fire in post as a layer effect for the backgrounds 4) purchase and use prematted green screen fire effects for additional layer/post work 5) shoot the scene with the actors on set with a green screed behind them, then shoot it again w/out the actors there, to more easily control the layer effects in post 6) Hazer to, well, add haze (we'll be using one anyway for depth/texture, but may kick it up a bit for this part) We may do the composting in aftereffects, as none of us have experience with Nuke. We absolutely welcome the addition of any interested nuke/fx compositor in the bay area who is interested in building their portfolio and/or willing to contribute to a creative project for a reduced rate. Push comes to shove, we are willing to work something out for payment, it just may delay our initial shoot, as this is all out of pocket and none of us are in the six-to-seven figure salary club. We will most likely not use a generator on location We are still a few month away before we can begin developing the shoot schedule/etc. We want to explore the possibility as a narrative component near the ending before finalizing the script (twenty pages) Thank you for any and all advise and guidance. It is very much appreciated.
  17. Greetings again, What are the effects of a haze filled set on front projection VFX techniques? Before I test myself, I'm reaching out instead of re-inventing a mistake :lol: The haze is meant for adding depth and the illusion of indoor smoke. This is for a static/locked shot meant to create the illusion of a living room on fire, with talent on a couch (think Syndoche NY, Barton Fink). My thought is: Since the projected light is in parallel to the recorded light, the evenly dense haze will appear brighter/more dense by reflecting light, will not create the appearance of light pillars, but will reduce the power and effectiveness of the Scrotchlite screen. My expanded question comes down to: Will haze defeat too much light, block the subject, and make the screen unusable? Perhaps a balance can me made employing minor amounts of haze. My recent post regarding filming the illusion of fire, got me thinking about front projection as one of several "tricks" to use at once: http://www.cinematography.com/index.php?showtopic=71850 Thanks for all advise and feedback! Recommendations on a "good-enough-and-under-a-grand" digital projector are welcomed. Or any recommendations on where to rent a better-more-pro projector in the SF Bay area.
  18. Hey Guys, I don't really have a vfx background, and it would be fantastic if you could help me out! Attached below is a still (and a link to a video) of what I am trying to achieve. I'm looking to shoot a music video that uses forced perspective (mainly band performance stuff), and I am not quite sure how to go about making it look right. To give a little more context, I'll be shooting with an A7sII camera. My questions are as follows: 1) Did they use a green screen for the people? 2) How do you make the person match with their background? I know lighting is a huge part of it, but I'm referring more to field of video, camera angles etc. Is there an equation that involves the height of the person/building, camera focal length etc. 3) Some of the shots in the video are moving... Is this a fake camera move done in post? Was there a lot of compositing involved? Can this be done practically without heavy post work? 4) I've read that if you're trying to make a person look large, you should film them in slow motion to give the illusion of a large body moving. My question here is with my camera's sensor constraints: I would like to shoot the back plate in 4k for maximum sharpness and better grading (shot full frame), but if I film the individual in slow motion, I'd be working with the equivalent of a super 35 sensor. How can I reconcile the two images to make sure that they visually match? 5) Say I shoot a scene that is back lit: I would have to incorporate the shadow of the person in the shot. Any tips? 6) I need to do this on a small budget: Any tips on achieving a good product cheaply would be greatly appreciated! I know I asked a lot of questions, but I'm having a difficult time finding the information I need online. Thanks for your help! -Sam Link to video:
  19. Lytro's first camera for filmmakers is designed to work seamlessly with VFX Lytro Cinema captures 755 RAW megapixels at up to 300fps.
  20. It’s really quite easy to remove markers or tattoos from skin. Have a look at my latest tutorial where I explain how to do this. Thanks for watching! Ruan TunnelvizionTV
  21. In this Nuke Tutorial I explain how to do Camera Projection and how to use this amazing technique to create a clean plate or to remove unwanted things from your shots.
  22. Hello! I'm shooting a short film on B&W 35mm (this is a strict decision of the director and I- it's set in the 1960s are we feel that shooting film is crucial to this story). We have quite a few scenes in a 'beach house' set where the windows look out onto the ocean. We will need to digitally project an ocean outside the windows but my concerns are - how do we get the brightest image so that the outside is overexposed than the inside? I know I will have to shoot wider open so the projector overpowers the light sources inside. we are thinking of putting up a giant white muslin around the outside of the windows and doing something similar to what Claudio did on Oblivion. http://www.fdtimes.com/2013/03/29/claudio-miranda-asc-on-oblivion/ the only problem being that we can't afford 21 projectors. Perhaps only two or three. Does anyone have any better ideas for this? Is front projection the best way to go? Thank so much. Kate
  23. Take a look at this short film that featured only children and was done with no dialogue whatsoever http://redd.it/34bi0f
  24. Want to get started with The Foundry’s Nuke? Want to take your VFX to the next level? In my first Nuke tutorial I show you how to create a muzzle flash effect very easily. The Foundry released a FREE non-commercial version of Nuke that you can download here: http://www.thefoundry.co.uk/products/nuke/non-commercial/ Thanks for watching and remember to subscribe if you want to get notified of new VFX tutorials every week! Cheerz, Ruan
  25. I recently pushed DaVinci Resolve further than I have yet. A project came in that needed a bit of compositing, and I tackled in right in DaVinci Resolve. And with a little help from Boris Continuum Complete, it all came together beautifully. All best- Mike Wolf Finishing Editor | Colorist www.shinefinishing.com 310-357-7211
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