Compositing 2
Pre-planning is the most important aspect of any production. Next is a listed, licensed, and insured crew. Estimate includes crew, locations, and appropriate gear to get the shot. No surprises! Compositing since 2001.
Digital Post Production - The latest Apple workstations running a spectrum of editing and compositing programs support all formats. You will see pixel-for-pixel accurate video at 100 pixels per inch, making it possible to inspect each of the (1920 x 1080) 2,073,600 pixels on each frame. At this time we backward support Beta/SP with 16bit color digitizing, DVCPRO-HD, 2K, ProRes 422, we apply format conversion to all HDV content. Experience tells what works: Production spoken here.
Colorist & Color Correction - I LOVE COLOR! A powerful set of tools to balance between scenes, cameras, and changes in lighting for color sampled 4:2:2. If that isn’t familiar don’t worry about it; just remember more samples means more information. Simple and logical. Content is king, but color is critical. Color is so important to our underwater imaging that we now specialize in color correction as a service. Nature often applies Her own random filters.
Roto-Scope [verb] is the use of ‘splines’ and ‘paths’ to create complex moving mattes designed for compositing. Patience is a must at this craft, setting keyframes to a frame-by-frame task. Keying is a common method of making a matte by removing a range of color, such as a green screen. Often used together to create a perfect matte.
Here is one of my favorite composite projects. Wolfgang Puck’s restaurant was an excellent playground for blurs, motion tracking, and time remapping which was very new at the time. It was a pleasure to have the freedom to produce this 30-second spot for the restaurant Postrio at The Venetian. Robin Leach is the unmistakable voice.
Maximum IMPACT: 
Wolfgang Puck @ Venetian: Motion-Tracking and Match Move - used to analyze an object in a moving scene. This information is applied to objects in the scene, for example; adding smoke to the exhaust of a moving car. Camera Stabilizing can remove all movement or allow a certain acceptable amount of natural flow to a moving camera.
Super-Cloning is painting pixels from a source frame to an off-set target frame in the same project. Used to remove a flaw such as power line or other objects.
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Frame-Painting with special FX brushes and recording the brush strokes for recall to successive frames, or over time to a series of frames, such as a write-on signature. Brush strokes can even be controlled by motion tracking information.
True-Camera Motion Blur with Z-map - We understand the science of camera focus, start angle and shutter angle. Camera blur is ‘sampled’ to an object like a moving logo to add subtle trails to matching the video. Another example; a fast moving matte needs a motion blur equal to the original video in order to match the scene. Z-map is used to add depth-of-field camera focus and blur to a scene or clip, and so 3D renderings match their scene position and depth in a scene. This is nothing like a gaussian blur.
Real-Shadow is a composite specialty. Each light sources creates a unique dynamic shadow of each item in range. 3D artists are familiar with placing light sources into a scene but what about adding an object into a video scene. We’ve all experienced our shadow passing as we walk under a streetlight; as it stretches out before us. We add realistic perspective to any object added to a scene, for example when a foot leaves the ground the shadow must respond appropriately, realistically.
advertising • compositing • education • ocean • print • video • web
