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One more question, if you don’t mind, how long would you get to finish a shot like this, on a real show?

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The other techniques sound familiar, like something you covered in other tuts on the site, so I will try to figure out how to apply them to this problem too (the Blender Inpaint node may be just the ticket). I assumed that I would need to track the actress and do a cornerpin type thing like for the mural on the wall, but I never got any tracks to really stick to her, so I bit the bullet and painted it out manually. I figured you can’t send a model back to the modeler if it doesn’t suit you, so I tried (I think) to do the first option you mentioned. I made the shaft a little narrower so she could get a good grip on it, and that created the problem of seeing the prop behind it, especially after I blurred it. I’m an old school martial arts nerd, I wanted a staff with a little heft on one end so she could swing it like a club, and a sharp end so she could thrust it two handed like a spear. The only thing I did other than following your directions was to create a different staff. If more people would find it useful to see these techniques to remove the staff, I could do some short videos showing each technique. I don’t have Natron open in front of me right now, so I can’t check to see if it has a node that does that, but I can check in the next day or so and let you know. There may be a node in Natron similar to Blender’s Inpaint node, which fills matte holes by stretching the pixels around the edge of the hole towards the center to fill it. Another way could be to do a garbage roto of the staff, then use luma and color keying to create a matte of the white and red parts of the staff, then using that matte to cut it out of the footage.

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Painting a clean patch of the background and tracking it in is the most straightforward solution, and is going to take a lot of tracking, tweaking, positioning, and rotoscoping to get just right. Hi Alex! Glad you liked the tutorial, I’d love to see your result if you’re willing to share it!Īs for painting out the prop staff, there’s a couple different ways you could handle it. Right click the names of the tutorials to download the videos directly. Sound design – Vince Tennant (here’s a short video about my friend Vince!)

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Both the Trelbyfile and the PDF are in the zip file, and you can see how much it differs from the final scene. But this way you can see what went into getting the shots.

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It’s nothing amazing, and in fact, it’s not even a full page long. I’m posting the script for the shoot, as well. And if there’s anything specific you’d like me to cover in the future with Natron, please message me ! Download it HERE.Ĭheck out the intro video above, download Natron and the assets below, and let’s get compositing! Keep a notepad nearby, there’s lots of hotkeys to remember. While not being a complex shot, it does involve many techniques that are very commonplace and useful in visual effects.Ĭheck out the scene we’ll be working on. In the world of visual effects, it was a pretty easy shot, and while working on it, I thought it would be a perfect introduction to compositing. Occasionally I do some work on The Last Ship, and for season 3, episode 1 (see it at 1:55-2:08), I was tasked with putting a mural of one of the characters on a brick wall.

I wanted to come up with a fun scene with some relatively standard compositing work, the kind of thing an artist at a professional studio is going to be doing all the time, and the TNT television show The Last Shipgave me the perfect opportunity. In fact, it’s similar enough that if you know one, you know the other. If you haven’t heard of Natron, it’s an open source compositing program very similar to Nuke. Latest version includes angled text used for watermarking.Finally, I’ve finished this up and I’m getting it out there! The first Natron tutorial for OpenVisualFX. How to watermark photos, use this software.

Free software for personal use, to add watermark to pictures. TSR Watermark Image Software - PRO 3.7.2.3 download Top Software Keywords Show more Show less

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