pixade
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Posts: 34
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Post by pixade on Oct 8, 2004 17:31:50 GMT -8
ok so let me get this straight, since i don't come from any post production background (video) ...
but essentially, the basis in which post prod works, as a technian, is using these tools to their disposal:
mattes - with alpha channels, images you create, painting it in (roto), etc.
and that would cover it all right? is there anymore? there must be right?
i'm tryin to look at the bigger picture here and see how to do things differently. i guess i need to know the box before i can think outside it.
thanks!
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Post by Garrett on Oct 9, 2004 14:11:12 GMT -8
What do you mean? Are you asking what is all entailed in Post-Production? If so, check out Vince's post in week one. If not... please clarify. Maybe I just don't get what you are asking. G
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pixade
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Posts: 34
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Post by pixade on Oct 9, 2004 17:33:07 GMT -8
i guess whati i'm saying is these are tricks to the bag when it comes to putting A into B. Or are there more?
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Post by Garrett on Oct 9, 2004 18:51:11 GMT -8
i guess whati i'm saying is these are tricks to the bag when it comes to putting A into B. Man.. I want to answer this.. but this doesn't make sense. Don't kill me Peter?! I don't know what "these are tricks to bag when it comes to putting A into B". Are you referring to compositing? A over B? Is the question primarily in reference to compositing techniques? Programs to use? Industry work flows? Or animation and CG effects? Sorry.. homey... i need some to hold my hand when answering a question.
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Post by Garrett on Oct 11, 2004 20:53:24 GMT -8
well... i guess.. it's all just adding layers on top of one another. Playing with their color, opacity, filters. etc to get the desired shot. Maybe bring up your question in class.
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Post by Vince De Quattro on Oct 12, 2004 10:46:07 GMT -8
but essentially, the basis in which post prod works, as a technian, is using these tools to their disposal: mattes - with alpha channels, images you create, painting it in (roto), etc. there are a million ways to place one image over another image. my goal is to train your eye so that you'll approach the task with the proper understanding of the medium. so basically, you'll learn some theory in this class and you'll have to wait until you take a hardcore compositing class for the details. as a compositor, you'll be dealing with the following elements, if i understand your question properly: 1. plates (film/dv footage) 2. blue screen/green screen/black box elements (film/dv footage) 3. cg elements (including digital matte paintings) 4. roto mattes/splines (for element separation) 5. dirt removal elements (either painted stock or mattes) that's it. seems pretty simple, huh?
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pixade
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Posts: 34
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Post by pixade on Oct 13, 2004 11:44:18 GMT -8
yes i think that covers it .... so the success of a shot prob is most dependent on the quality of the elements to be added? ie-blue screen or cg elements? i think that's the most important thing when i see other work, is whether i can see the blue spill, then of course, the colour coherency.
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Post by Vince De Quattro on Oct 13, 2004 22:06:16 GMT -8
well, so i listed the range of input elements that contribute to a composite, but think about the stuff that you need to create from those elements to sell an effect.
like reflections, for instance. or shadows. focus blurs or grain. chromatic aberration, lens flare, halation, bloom, black balancing... to name a few.
this is the trade. you take a bunch of elements and then you create a visual sale. you sell the effect to the audience.
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Post by Garrett on Oct 23, 2004 19:21:03 GMT -8
Yeah.. compositors are sick!! (a good sick, I mean) It is quite amazing to see how one can control every aspect of a shot. It's cool seeing Vince set everything up in class. I never even knew half of that stuff was possible in After Effects. Of course.. I am in middle-school as far as compositing experience goes!!
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johnb4467
Junior Member
"That which does not kill us, makes us stronger." -Nietzsche
Posts: 54
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Post by johnb4467 on Nov 3, 2004 20:43:10 GMT -8
It's also very cool that we're essentially the last stop before the shot is finalized& completed. Of course when it gets down to 'crunch' deadline time, that means we also have the most pressure and stress to get things done...so it's a mixed pleasure!
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Post by Vince De Quattro on Nov 5, 2004 0:02:38 GMT -8
having the last bit of control over the finalling of a featuring film hero effects shot is a rush that you won't soon forget once you've felt it.
the collaboration between the many disciplines ends up in your hands... taking all the various elements and marrying them together in the alotted time in the best job in non-supervisorial vfx.
of course, i still prefer to wear both hats, (3D and 2D) but i fear that this ubiquitous dual role will succumb to specialization and shrinking budgets.
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Post by Garrett on Nov 5, 2004 0:14:16 GMT -8
I would like to hear more on the area of specialization. I was talking to a guy from Pixar tonight and he seems to be saying the same thing. It sounds like the industry has 2 hats.. one of the larger company that encourages and needs specialization and the other is that of the "remaissance" man. Someone that can do several things, and do them well.
It sounds to me like being a specialist would be better, but is that risky.. financially?!
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Post by Vince De Quattro on Nov 5, 2004 0:17:44 GMT -8
I would like to hear more on the area of specialization. I was talking to a guy from Pixar tonight and he seems to be saying the same thing. It sounds like the industry has 2 hats.. one of the larger company that encourages and needs specialization and the other is that of the "remaissance" man. Someone that can do several things, and do them well. It sounds to me like being a specialist would be better, but is that risky.. financially?! i think you're doing the multi-hat thing now, while you're in grad school. you might do it after you graduate, especially if you're working for a smaller house. i think it's a good thing. you get to learn the business of visual effects better that way. specialists tend to get isolated and then, after a semi-random number of years, end up going postal.
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pixade
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Posts: 34
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Post by pixade on Nov 6, 2004 15:28:36 GMT -8
i like learning everything - we get to see the pipeline - everything is funner than writing an essay for me
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Post by Garrett on Nov 10, 2004 15:57:48 GMT -8
I agree. I was talking to an animation friend of mine, she was very concerned about the same thing. I even talked to a friend of mine a dreamworks. It seems like you should be really, really good at one thing and really good at another and then understand how everything else works.
Granted any one I know in the business of Visual Effects works for animation studios and not necessarliy visual effects houses. These ends are different. I think this also starts to boil over into what Vince talks about between 2D and 3D.
I guess we shouldn't sell ourelves short. This school has a lot to offer. We just have to know where to find it and use it! Hell.. for all the compositing people we have Inferno, Flame and Flint I think. You don't access to systems like that when you aren't in school. Learning those systems will pay off! There are tutorial books at the stations. You just need to book time to use it!
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