Red compression and matrix tests
- Thread starter Muttondraw
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Brook Willard
Well-known member
Heheh, I claim no credit. Hell, I didn't shoot a single thing in that post. It's all too crispy but it still works.
Emanuel
Cross-Examiner
BTW your latter pics Brook, I'm watching by now (and at the same time) a Mel Ferrer late '50s movie [LINK] on TV. And I can assure after seeing a greenscreen (Anthony Perkins on the boat going up the river) if 35mm or not, hollywood or not, year '59 or not, their option (aesthetic option not exactly techie one) for a deep DOF is less cinematic what an indie can get with the shallow DOF from the RED S35 sensor.Emanuel said:I was @wrong_thread posting this. Sorry folks! Now it's right on the way!
Here are two grading downrez and cropped rough samples taking advantage from boothba post, David Stump lighting setup and, of course, RED ONE capture recording for greenscreen purpose:
more magical hour setup
more pre-dusk time (maybe later than the previous one -- who knows?)
(&) Such outcome wouldn't/won't be only coming from the studios!im.thatoneguy
Well-known member
Brook Willard said:
I was actually going to say it was a little too soft but other than that was very good. Maybe 1 pixel too soft.
Either way 'Claps and Giggles' all around. I'll have to take a whack at it tommarow when I have some time off.
Brook Willard
Well-known member
I was glancing through the thread again and noticed a few [many] things wrong with my composites. One of the most irritating parts was this tiny little one-pixel outline that was visible in certain areas but not others. I pulled up the script and zoomed in on it to see what the hell was going on.
Oh. It was cleanly keyed arm hair.
[edit: JPG compression killed this one... it wasn't just blurry "fuzz" in the 16-bit comp.]
Oh. It was cleanly keyed arm hair.
[edit: JPG compression killed this one... it wasn't just blurry "fuzz" in the 16-bit comp.]
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scienceguy_ae
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PixelMagic
Active member
Can someone create mirrors? I am a student in college studying to be a feature film compositor, and I'd like to try some of these composites myself.
Brook Willard
Well-known member
The only 3 images that are available are available at good speeds from the link in the first post.
scienceguy_ae
Member
boothba said:
I did spend just a minute or two fine-tuning it, but not a whole lot. It was surprisingly easy.
I can't wait to get my hands on some footage.
Brook Willard
Well-known member
That makes two of us. I really wish they'd post some 2K footage... something beyond 8-bit if possible. I know it'll surface in due time.
scienceguy_ae
Member
Emanuel said:
Yes, I also noticed that Motion didn't handle the arm hair as well as Shake. Still, it's not bad for what can be a close to real-time key.
Another drawback to Motion's current GPU based rendering is the 2,048 x 2,048 limit. I had to scale the entire frame to 1920 x 1080 before compositing. Shake handles much larger content.
[edit] I just realized one reason why the arm hair didn't key out as well in Motion. I was working at 1920x1080, as opposed to Brook's 4k comp. Duh.
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Brook Willard
Well-known member
Yeah, I was 4K in shake. I used Keylight instead of Primatte - I find it to be more effective with "perfect" key images. It's also a very effective one-drag keyer.
Brook Willard
Well-known member
:laugh: :laugh: :laugh: :laugh: Don't I wish! I've had a few people ask me the question [while I was working on the key], but no... that's somebody from the RED team or an actor.
Though - to Jim et. al - I will happily donate my services if you need somebody for future shoots. It's a 10 minute drive :laugh: :thumbup:
Though - to Jim et. al - I will happily donate my services if you need somebody for future shoots. It's a 10 minute drive :laugh: :thumbup:
Mr. Blonde
RED Advocate
The basket shot is especially impressive! God I'm so damn excited to get my hands on a Red....
PixelMagic
Active member
Ok, so I ran a few compositing tests at 2k. Here are the results.
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