![]() ![]() Using the new footage with the clean greenscreen, extracting a luma matte of the fan gave a much better result (Figure 15). Original greenscreen Cleaned greenscreen Figure 14: Original and cleaned greenscreen I extracted a clean greenscreen by dividing the luminance of the footage by the luminance of the frame-blended empty greenscreen, then multiplied the result by the difference between the empty greenscreen and a Constant that is the same shade of green as the greenscreen (Figure 14). Luckily, it is a black fan, so I was able to get a good luma key out of it, but because there were tracking markers on the greenscreen, some markers stayed. The core and edge matte did not capture the motion blur and fine details of the fan that Paola holds. Because they walk into the shot from offscreen, I had a few frames of pure green screen that I used with a FrameBlend as my colour plate input for the IBK Gizmo and many other keys.įigure 13: Cleaned matte Fine Detail Mattes The IBK Gizmo worked better for the beginning section, while Keylight was better for the end. As well, the edge detail for the beginning of the sequence when they are close to the camera and the end of the sequence when they walk away required different values because of the slight lighting change. ![]() I had to clean inside and outside the masks separately for the actors, James and Paola, because they had different levels of details that required different values. I then keyed a core matte using Primatte (Figure 11), and a soft edge matte with Keylight (Figure 12). To begin creating the alpha channel, I denoised my footage first. I used Hugo’s Desk’s tutorial on adding volumetric lights as a guide (Guerra, 2018).įigure 9: Volume Rays tutorial by Hugo Guerra (2018)Īll of the movement added was very subtle, to not distract from the main focus, but enough to break up the stillness of the background image. To add more depth, I added VolumeRays that had slow moving light rays, multiplied by a large pass of Noise to imitate dust. Instead of the built-in filter shape in ZDefocus, I used a Flare as a filter for to get bladed bokehs. I found a useful tutorial which explained how to use the ZDefocus to get nice bokeh effects, which I wanted for the candelights (Raasch, 2018). In order to get an accurate defocus, I created a depth map by using different shades of grey Constants masked for each plane in depth. I also added in a fake camera move by adding a Transform at the very end of the comp to make the camera slowly move upwards. I then used this as a distortion map to warp the lights, making them flicker like flames. I also added a Transform to animate it moving upwards, imitating the motion of flames (Figure 7). I used different particle size and wavelength speed of Noise for the flames in the foreground and flames in the background, because the flames that are further away would move less than those closer to the camera. The maximum value in the “z” parameter was 5 and the minimum was 0, therefore I used those values for my range. Random(( frame+ offset)/ waveLength) * ( maxVal- minVal) + minValįrame span of current frame number divided by 30 Figure 6: Random Wave expression (Carson, “Nuke Wave Expressions”) To make the noise animate in a random matter in a flame-like way, I used the random wave expression in the “z” parameter of Noise: random((frame)/30)*(5) To animate the flames, I used animated Noise to distort the lights that I cut out. These kind of shots are generally bright, warm, and lights seem to glow. A couple in a palace, meeting up for a courtship–it sounded exactly like the famous ballroom scene from Beauty and the Beast.įigure 3: Ballroom scene from Beauty and the BeastĪs well, for the colour grading, I looked at romance films to see what style of lighting they use to convey love between characters. Like my previous module, I decided to use Beauty and the Beast (2017) as my main artistic influence. I initially wanted to place the couple in a garden outdoors and have them walk into an archway of leaves, as if this is their meeting point for a stroll in the garden.ĭue to a large mismatch of the perspective with my footage, in the end, I composited them into an indoor environment inside, overlooking the inside of a palace from a balcony. The idea behind the concept was to show a courtship between a couple, set in the Victorian era. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |