Difference between revisions of "Film Projects"

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Quotes:
Quotes:


''If you can plan your DV shot to have mostly dark subjects (dark hair & clothing) in front of a green screen (or bright/blond subjects in front of blue), you can use the color difference key to pull a quick core matte, then turn to a luma-based solution to bring out the edge details.''
If you can plan your DV shot to have mostly dark subjects (dark hair & clothing) in front  
of a green screen (or bright/blond subjects in front of blue), you can use the color difference  
key to pull a quick core matte, then turn to a luma-based solution to bring out the edge details.


''With DV and DVCam, you won't have as much color information per pixel due to compression, so good mattes are harder to pull. It ends up looking pretty aliased. Both NTSC and Pal DV formats have pretty low sampling (4:1:1 for NTSC and 4:2:0 for Pal).''
With DV and DVCam, you won't have as much color information per pixel due to compression, so  
good mattes are harder to pull. It ends up looking pretty aliased. Both NTSC and Pal DV formats  
have pretty low sampling (4:1:1 for NTSC and 4:2:0 for Pal).''


''It was all pixelated and jagged edges. How do u get around this?''
It was all pixelated and jagged edges. How do u get around this?
''The technique that I've heard used most often is that you blur the UV channels (the chromanance part of the YUV) then mix that back in with the Y (luminance) and your ready to pull a matte. Do just enough blur so the pixelated jagged edges soften. Use that only for pulling the matte. Once you've got your matte, go back and use the original footage for applying the matte.''
The technique that I've heard used most often is that you blur the UV channels (the chromanance  
part of the YUV) then mix that back in with the Y (luminance) and your ready to pull a matte. Do  
just enough blur so the pixelated jagged edges soften. Use that only for pulling the matte. Once  
you've got your matte, go back and use the original footage for applying the matte.''


* [http://forums.cgsociety.org/showthread.php?s=cf5bcfd0ef189ceb485eec675f99884d&p=2911287#post2911287 CGTalk GreenScreen]
* [http://forums.cgsociety.org/showthread.php?s=cf5bcfd0ef189ceb485eec675f99884d&p=2911287#post2911287 CGTalk GreenScreen]
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* [http://www.computerarts.co.uk/tutorials/3d__and__animation/bluescreen_on_a_budget Bluescreen on a budget]
* [http://www.computerarts.co.uk/tutorials/3d__and__animation/bluescreen_on_a_budget Bluescreen on a budget]
* [http://www.dvguru.com/2006/12/21/tips-for-compositing-dvc-pro-hd-footage/ Tips for compositing DVC Pro HD footage]
* [http://www.dvguru.com/2006/12/21/tips-for-compositing-dvc-pro-hd-footage/ Tips for compositing DVC Pro HD footage]
* [http://www.trustedreviews.com/camcorders/review/2007/10/06/Making-Light-Of-The-Matter Making Light Of The Matter]


== Programs / Plug-ins ==
== Programs / Plug-ins ==

Revision as of 14:04, 6 April 2008

Blue or Green-screen

Quotes: 

If you can plan your DV shot to have mostly dark subjects (dark hair & clothing) in front 
of a green screen (or bright/blond subjects in front of blue), you can use the color difference 
key to pull a quick core matte, then turn to a luma-based solution to bring out the edge details.

With DV and DVCam, you won't have as much color information per pixel due to compression, so 
good mattes are harder to pull. It ends up looking pretty aliased. Both NTSC and Pal DV formats 
have pretty low sampling (4:1:1 for NTSC and 4:2:0 for Pal).

It was all pixelated and jagged edges. How do u get around this?
The technique that I've heard used most often is that you blur the UV channels (the chromanance 
part of the YUV) then mix that back in with the Y (luminance) and your ready to pull a matte. Do 
just enough blur so the pixelated jagged edges soften. Use that only for pulling the matte. Once 
you've got your matte, go back and use the original footage for applying the matte.

Programs / Plug-ins

  • dvMattePro
  • Keylight
  • Shake (OS X only)
  • Final Cut Pro (OS X only)

Lightning

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