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扩展画面步骤

In the Set Extensions tutorial we learned a technique to add CG elements on top of a live action shot. But there are other effective ways to do this, include masking out parts and even using a green screen in the field.


In the above example, luminance keying and some masks were used to remove the sky and replace it with a destroyed city. Since our characters do not extend over the separating wall it is easy to remove the sky by masking the wall off and replacing it with our set extension.

This is a fake setup to demonstrate another possible way to remove the background. Obviously this would be even easier to remove than the white sky green keyer. Especially since it is pure green from the paint bucket in Photoshop. Of course in real life you want to add some track points as well so you can track the camera movement and I don’t mean in Photoshop.


In this example a fake green screen is painted on to demonstrate how using a small green screen in front of your actors will allow you to extend the background directly in front of your characters while maintaining the original dirt ground which makes your charcters look like they are really there. Once the green is removed a background plate of the original dirt lot can be placed back into the scene, then by using a subtraction mask and some feathering, you can blend the real foreground dirt with the background plate of the matte painting. Just be careful not to fade the mask beyond the end of the green screen or you will get a sharp edge where the green screen ends.

Another idea would be to park a static object like a car in front of the actors with a green screen behind it. Then you can key out the green and use a garbage matte to cut the rest of the scene out, and this way you wouldn’t have to blend the original footage with the background matte painting because the car would serve as a separator.

You can also extend the set with a camera movement and place some large building in the BG and simply pan upwards to the top of it… or even… Okay, that is enough for now.

After Effects 相机信息

I occasionally get questions about what the various camera settings are for in After Effects. Usually I just ignore them and go about my day playing with my tinker toys. But what the heck, here is a little write-up.

Now I was going to put together a complete technical explanation and try to confuse you with complicated facts and made-up equations but I want to explain it to you the way I wish somebody had with me.

The first thing we’ll talk about are camera presets, such as 50mm and 35mm etc. Simply put, the lower the number, the wider the angle of view (wide-angle) and the higher numbers indicates a telephoto. This number is called the focal length.

Figure A

Figure B

In the above examples, I’ve used 2 cameras a 50mm and 20mm. You’ll notice that I’ve matched the perceptual size of the front text in both examples. To accomplish this I moved the wide-angle, 20mm camera closer to the front text so that it would fill more of the frame.

Now it is easy to see how a wide-angle lens can make a shot more dramatic because the background is smaller and seems further away. It also allows you to get closer to objects and still see most of the image.

On the other hand, although there is no lens distortion like in a real 3D application, this can sometimes be an awkward, exaggerated point of view. So for many things I like to use a 50mm and 35mm preset because it is more natural to what we are used to seeing everyday with our own eyes. But to make things seem bigger and mighty, a wide-angle lens possesses the necessary attributes.

Here are some of our tutorials demonstrating various camera setups and tips:

Advanced Camera Tips

Virtual 3D Photos

3D Room

3D Projection

3D Compositing

Maybe in the next one, we’ll talk about apertures and depth of field; but that’s easy stuff.

白天变黑夜要点

Day for night, an easy transformation right? Not always. Just darkening the shot and adding some blue doesn’t always sell it. Especially when you see crushed highlights and sharp shadows.

Some good tips for shooting day for night include:

  • Limit direct shadows from the sun
  • Limit specular hot spots
  • Use a backlight to generate “moon light” in post
  • Sometimes underexposing can help
  • Shoot at dusk
  • Don’t shoot the sun (duh!)
  • Don’t shoot at night or this post won’t help

Here is an example. Obviously there are many possibilities, like a tutorial that may come up. I need to shoot some footage so if I can get out this week great if not next week. Until then, we’ll leave the light on.

By adding masks around ‘bright’ spots you can create simulated illumination.

在After Effects中处理音频

A brief look at working with Audio in AE

Importing:
Audio files import just like other media types but the best format to use is WAV as opposed to MP3, which can be problematic. Audio files can be placed on the timeline just like other media files. There is also an audio switch that can be toggled on or off.

Previewing:

Essentially there are 2 ways to preview audio in AE, first you can play just the audio in a composition by hitting the PERIOD key on the number pad. This will begin playing the audio only, in realtime. The other alternative is using the RAM preview function by hitting the ZERO key. Be sure the audio switch is on in the Time Controls Panel. Also audio levels are displayed in the Audio panel while sound is being played. To render Audio just be sure to check the audio option in the OUTPUT Module from the render queue. Read More about this from Adobe

Viewing Audio

There are many tips for working with audio as well. To view an Audio Waveform, select an audio track and Press LL on the keyboard; one L will display the amplitude. You can also scrub the Audio by holding down CTRL and dragging the Current Time Indicator across time. More by Adobe

Audio Effects

After Effects has several audio Effects as well. For fading out audio, the Stereo Mixer filter is great because it uses a amplitude percentage rather than Decibel (db) value. There are also many effect that will use audio to generate a visual Waveform or Spectrum, these can be found in the effects generate category. More by Adobe

New Features in CS3
In AE CS3 Speed changes and Time Remapping, will also affect the speed of your audio. This allows you to Ramp both video and sound, unlike in previous versions.
More by Adobe

Tutorials with more info

Check out our Audio to Animation tutorial for more tips and tricks, as well as how to convert Audio to Keyframes. Watch Video

Our Audio Product

Almost forgot, our very own, Designer Sound Effects also includes several helpful audio mixing tutorials and designer sound elements. Be sure to check it out.

PS, I’m a little under the weather so my singing voice is a little off… tutorials will return soon.

MAYA制作好莱坞大片集锦,你能认得多少?

MAYA2001至2003,从中可以看出MAYA技术进步的飞跃以及风格的变化,呵呵,找到2004以后的版本会继续发上

MAYA2001

MAYA2002

 

MAYA2003
听不到声音,就拖一下左下角音量

原来美剧是这样拍出来的……

这是几部美剧的幕后制作花絮,看完才知道现在的电影制片技术已经有多牛逼了。里面包括有《急诊室》、《实习医生格蕾》、《英雄》、《丑女贝蒂》、《神奇律师》等等。什么时候整部电影或电视剧能在一个房间里就能全部拍完呢?果然他们都是演员,很能演……

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