All existing keying tools inside of Flame are discussed, and then reconstructed for isolated control for a variety of solutions. Deconstruction of the components in high resolution 4k image sequences allows for the reassembly of custom channels to create unique chrominance for the newly constructed image data. cmiVFX takes the viewers of this video outside of the (matte) boxed in lifestyle of standard keying tools. A brand new era for desktop compositing is upon us. New expensive tools, quality tested over years on a production proven battleground, raising or expectations as well as our quality of work, so that consumers can enjoy our work..... well, you don't need half of those tools to get the job done! Don't believe us? We have the proof in this video. Just remember our slogan, "No Thanks, I'll be building my own keyer for this job". Guess what? We will show you how to do it too.
In this chapter we explore the core components of a standard image data. Then we explore how to manipulate this data by reconstruction the order of how its assembles for more intense isolation of light and dark values.
Compositing is the core principle of the assigned task. Everything we do is based on the concept of layering information to create new and unique information. We show alternative ways of layering information so that we can start to create our own custom keyers that could handle anything.
We weren't kidding when we said we would build our own custom keyers inside of Batch. Learn how to assemble a workflow for a basic green screen keying solution. If you are not familiar with Batch, don't worry. We have created some auxiliary tools to assist in compositing complex problems with acute detail.
According to Flame and the way it handles RGB images, there are 4 basic channels. Red, Green, Blue, And Luminance. We will explore the manipulation of these simple channels while creating new image data for later keying solutions.
Extending the previous chapter at great length, this part of the video discusses the usage of less then 3 channels to create keying solutions for full color image sequences. Brief discussions about Canon And Red camera shots are utilized here.
The fact is, you can design a large detailed keying solution in once pass at great cost to your personal well being, OR you can create several smaller keys isolating specific areas and assembling later with the compositing techniques discussed in an earlier chapter. This method is usually a lot faster to complete and higher quality then the previous method alone.
Luma keying is a very basic keying solution when using the default Flame Luma Keyer. We show you the new and improved way of isolating data with a higher range of controls to pull isolate item keys in busy backgrounds. We also explore some additional usages for effect shots using directional luminance from an image sequence.
As much as we believe creating your own keyer is the best solution for complicated shots, we must come clean and show you that the Modular Keyer is very much like creating your own custom keyer in Batch. In fact, most of the tools are identical. We will take you through a typical key using the Modular Keyer and corollate it to methods discussed earlier.
There is still a lot of work to do after pulling a key. If your footage was shot with proper lighting and the construction of the CG backgrounds were done with care, then maybe your job is a bit easier. However, complicated back lit background plates with slightly off lighting on the foreground plates will take a bit more work to complete. We show you a common method of melding the two layers together with a slew of batch tools.
This Chapter takes over were the last chapter left off. When creating some dynamic post lighting tools for better seaming of your key solution, you will need to incorporate low level slider controls for dynamic client feed back. We reconstruct the previous tools to better accommodate the client artist relationship.
In this chapter we sum up all the other chapters while focusing on some of the extra tools used in some keying solutions. Some of these topics include tracking, stabilizing, and a in depth discussion on all the math operations of a compositing solution.
Production - United Saints . Director - Shane Holloman . Camera - CK Cates . Artist - Quinlan
Autodesk Flame, Autodesk smoke, Autodesk Combustion, FBX
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