Compositing the Bible images

Well creating the tracking and the Bible image was a major task.

1) Accurate tracking is necessary. I had to track in Mocha and the tracking had to be dead on. This meant adjusting the Adjust track and using perspective etc.

2) Make sure the mattes were feathered for a smooth transition

3) Export the tracking and corner pin data to After effects, then composite the images

4) Create moving light images to match the lighting in the scene

5) Blend using multiply- the page image over the BG paper plate

6) Composite this into the Matted out book area

It still need tweeking but the results look pretty good.

From this:

To This:

(I can't post the video yet I still need SAG approval)

Bible Image and Bookmark Image

Here is the Bible image. I was going to ask someone else to do it, but after I played around with an idea of what I wanted, I used it as a sample image in my matte and decided to use it. I decided to created a stylistic image of "Jesus and the Feeding of the 5000" using my greens screen footage:

The image will change to a more water color stylized image before the Galilee transition:

The Bookmark is simple:

Seek the Advice of Many Counselors...

Today I got the chance to ask Gavin's advice about my project. The 3D tracking really is so big, I really was right that it effects the scaling and basically all the elements of the 2D and 3D world. He also gave me some great advice about the crowd replcation and doing it in layers. To have more control over lighting of the elements over distance.

I'm going to work real hard and try and meet up with him with my work again.

Midterm Review

Well I got through Midterm Review. Interesting comments. I was encouraged by the comments on my presentation in general, by long ago at Montclair State University- as a Broadcasting major, thanks to God letting me learn from the wonderful Dr. Howard Travis I learned that "Presentation is Key". I think we were the only under graduate students who sometimes came to school in business suits.

Otherwise, the overall comment was I need to refine my edit. Most of my cuts are too long. Also everything is way out of scale. I need advice on how to do this. And I need to have the crowd replication test done.

As I look at what I threw together I see it looks horrid. God help me.

3D Tracking and ALL it's significance

Wow!! I had no idea how important 3D tracking was to the intergration of 2d into 2D. Now that may sound strange but if your 3D tracking and scaling is off your whole scene is off. I have never been formally taught a 3D tracker. So I had to stop working and spend lie a week just learning the software. I chose Syntheyes as I had an old version of it. I upgraded it and learned that. I would have more time to work at home, than in the lab. Good choice. Lets just say there have been many sleepless nights.

Some of my tracks, the tracking points looked liked slopping bananas, etc. I knew I got it right when the tracking points looked like the image I was tracking in 3D. the ground points were on the ground. Table on the table. light on the light.

I took two weeks to get this done and I still have scale problems. Man is 3d tracking important.

New Visual Image Possibility

Here's a new image for the sky posibility:

It's time to start making a decision.

Color Management and Digital Cinema Production

Well, the learning never ends,  according to my time line I should be... working on my 3D landscape today.  Well, I was a good wife and help my husband on a shoot, then went to a family function and when I came home said ok, let me spend two hours and work.  But something was bothering me.  I did the exporting fo my image sequence to a tiff sequence, but I got a strange message that the sequence I was exporting wasn't 16 bit and wouldn't gain anything from a 16bit export.   So I decided to research a little harder into color management and my workflow and I see that I have to research this a little bit more to get a truly dynamic color range with my footage.  

I just started googling my codec, and tiff sequence, then 8 bit to 16 bit then a nightmare of information on color management came up.  As important as light is to an image, Color is to story.  Arg!!!

Great source of info: Prolost Stu maschwitz

http://prolost.com/

White Paper on After Effect Color Management:

http://www.adobe.com/devnet/aftereffects/articles/color_management_workflow.html

Ok, I know what I'll do.  I'll use proxy tiff that are 8 bit for tracking and rotoscope as I have to stay on time, then replace with the 16, 24 or 32 bit image.

I have to research fast

Push the Color Contrast

Well I had to change my schedule around so I am working on my Matte Paintings and Skys. Here are ideas for really pushing the color to opposit ends on the spectrum:

Talk about nice shot!!!

The only challenge with this is what it looks like from the front view. It's all Overcast lighting so I will have to really fake create a new look. Perhaps I'll add blue to the top of the sky, then continue the blue going back into the front view??? I need more sky references from different angles.

Storywise, it would make sense if there still is a sense of blues behind my main character, sense that's where he's coming from. Perhaps, I'll have the cloud cover subtley change, so we see his change also.

Post Production Workflow- Oh man, soo much to do!!!

Here is the Work flow I am following for Post. I realize I have so much to do, I shall barely have a moment to breathe. But pray I shall!!!

Here is the Timeline I have set up for myself until the Midterm Defense Panel:

And now to WORK!!! WORK!!! WORK!!!