Hey Creative people of Envato! Hello everyone! Its 3 am here and this is just a break to ask for your valuable help indeed. As Felt said, “welcome to post production land”
I am working with a new idea I have and will need your ideas, as usually. I want to shoot a scene where the subject will transition from a place to a 3d set up make in Cinema 4D or Maya. Let me explain myself since I couldnt find an example:
Scene 1: The subject is in a park.
Scene 2: The park / backgeround gradually fades, as the subject is looking surprise, into a 3D world.
Here are my ideas on how to acomplish this:
1. Shoot the scene on the park without the subject.
2. Shoot the subject in a greenscreen
3. Bring both together, make the whole comp and effects of the transition in AE.
Does this make sense? This is my first time trying to acomplish something like this.
Is there any book on special effects that you would recommend?
Thank you all!!
- Envato Staff
- Senior Reviewer
- Exclusive Author
- Sold between 10 000 and 50 000 dollars
- Author was Featured
- Author has had an Item Featured
- Repeatedly Helped protect Envato Marketplaces against copyright violations
- Beta Tester
- Bought between 100 and 499 items
Thanks guys for your comments. I already have all Kramer’s products and sorry I didnt explain myself well. I was looking more for the technical stuff and was wondering if two shoots on the park will be better as B suggested.
Thanks anyways. Sorry Mark I post video things here as I love this forum
check these out elreto!
especially the ones called, “how to place tracking markers”
it’s no.2 in the list(just below the trailer) and by good luck it’s free to watch!. the other free clips are good too, and deals with matching lights and planar tracking.
there’s lots of tricks that you probably will find out yourself eventually, but watching them explain it to you just saves a lot of time.
also if you use maya live, (or synth eyes) there are few preparations to make it painless and perfect track.
Fray! Thanks for your help!
Amazing stuff, thanks for the share…
I do not know a lot of maya but was interested in the synth eyes at the fxphd university, will give a look in the future. Just starting with this…
You just got graduated, right Fray? What did you study?
First way to do it…
Shoot both parts as a lock off. That means that the camera doesn’t move.
Shoot the park first as an empty scene, then try to match the lighting in the green screen studio to the park.
When you shoot in the park, measure the height of the camera off the ground. The angle that the camera points towards the ground (as I learned on set today, an iPhone comes in very handy for this). Note the lens you are using.. or on a zoom lens, the amount you are zoomed in.
Then replicate everything as much as you can in the green screen.
Then construct a scene in Cinema or whatever 3D program. Match height, angle lens etc. of camera. Match the lighting as far as is possible. If you have a special camera, or a silvered sphere, you can take 360 degree photograph of the scene and use this as a light source for your 3D world by wrapping the image around a sphere. Check out HDRI tutorials and maps on the web.
Then comp the 3 elements together. Compositing will work in After Effects. You’ll probably get a bit more control in Shake, Nuke or Fusion. But the software is unimportant… it’s the eye that counts!
Add camera pan / tilt / handheld in post. If you need a genuinely moving shot… i.e. dolly etc. that’s really tricky. You can fake it, but really you need motion control. $$$$$$$!!!!
Second way to do it…..
You could also shoot the whole thing in the park and then 3D track the scene… Boujou PFtrack syntheyes etc.
With this solution, although you will get moving camera, you will have to do a lot of rotoscoping work… that is a fine art… and very time consuming. As your character isn’t against green screen, the only way to separate him / her from the background is to cut him / her out by hand.
Hope that helps…. sorry if it’s a bit garbled. Been on set for about 16 hrs. As I said before…welcome to the world of post-production
Gotta go to bedddd…..
Excellent Felt! I was wondering if I need to measure some technical details with the camera but you answered it all. Yes indeed, an iphone is such a helpful piece of tech.
Guess option 1 works best for me but matching the light will be a real challenge for me. I’m just starting with the rotoscoping technique, so Ill stay off for a while. Interesting the HDRI thing you suggested. I will get my mind on it.
What are you up to now? Are we going to have a chance to take a look at it?
Have an awesome day…...
The thing to remember if you’re matching the lighting from the great outdoors in a studio is how omnidirectional it is.
On an overcast day, the light comes more or less from all sides. Depending on the time of day and the cloud cover, there will be a directional kick to it as well.
Obviously, when the sun is out there’s an overwhelming, shadow casting directional light too.
Now I’m no lighting expert, but I’ve seen plenty of DoPs in action. To create sunlight, they tend to use a big HMI light. Something like a 10K. That’s a big light that you need to hire and you probably need an electrician to install it. It uses 3-phase power and is pretty enormous. HMI
The surround part of the lighting is created in various ways, but it must be very diffuse. You can do that by reflecting lights off large white poly boards or shining them through diffusion material. There are even lights that are suspended inside a big balloon things that hang up by the ceiling and throw off a very diffuse light.Light balloon
If you’re on a mini budget, then it’s worth just bearing this stuff in mind and doing what you can with what you’ve got. Otherwise, it might be worth finding a Director of Photography / lighting cameraman to help you out.