Inserting a layer of static images in Pocket video

Hello

I am new to AE.

I am changing a doc sequence where the subject is moving and talking into the night in a relatively well-lit urban environment.

It is fellowed profile by a pocket camera - full frame, 4K.

Question: What would be the best way to insert images in backgrounod, so that they remain static, as it transmits by - as an ad on a wall or a lamp post. It must be inserted in the post.

There is one more chance sequences filmed soon. Is there something to do during the filming in order to insert these images in a message - add green markers in the background at the location, for example?

Thank you very much

16mm

Here are some elements to consider when planning add items to hand held footage. I will list in the order that I consider as many things when I'm planning VFX shots. I did this kind of thing for more than 40 years and it works pretty well for me.

Planning the movement of the camera so that there are a lot of fixed geometry in the scene to follow (you can't keep anything in a shot of the ocean with the surf to rush in or a shot of a sidewalk full of people shot with a telephoto lens)
Keep the camera as still as possible
Shoot at a higher level than the standard frame rate if it is possible to obtain more information to follow (59.94 preferable plus 29.97 which is worth much more than 24 or 23.976)
If your camera has rolling shutter problems and most consumer and prosumer cameras, do everything you can to minimize the
Manage lens distortions using lenses or lenses that do not distort the edges of your frame
Avoid camera movements jerky which introduces motion blur

Follow these six rules for the use of the camera and you'll have a pretty good chance to snatch successfully track.

Now let's talk about the composition. It's more on the concepts of a list of rules.

First concept: If you have a mobile camera and you want to insert flat elements in the scene to attach to an object in the scene to try and get this object quite near the place of the unit at least once in the shot. For example, you have a picture on a wall the actor goes in front and you want to replace the image. You should frame this one if you get a complete view of the image at some point in the shot and it is close enough to the camera room. You can correct perspectives using tools such as corners, but if the paint is at an angle of 60 ° to the camera and more it's going to be difficult to get a good lead. It is important that you pay attention to the perspective of the scene and the evolution of this point of view as the camera movements.

Second concept: If you are going to have to separate something of the background, like your player to walk, you must be aware of the background behind the actor. It is the simplest and it is different from that of the actor skin, hair and color of clothing more it will be easy to separate the actor from the background. The techniques that you will use are rotoscoping or procedural mattes generated from the color channels (chroma).

If you plan to insert 3D objects in the scene that interact with the actor or the game you must put enough elements of fixed geometry in the scene for the camera Tracker calculate the chance in perspective and parallax. If your shot framed the actor in 70% of the image, and he walks around a neighborhood with cars parked with reflections in the windows, followed by traffic carried in the street and people on the sidewalk, moving in all directions, it is going to be very difficult to find enough detail in the shot to get a good camera. The simpler the better shot for camera monitoring.

I could go on and write several chapters of a book on how establish and put in place this kind of effects shots, but it will help you get started.

When you get your film into the post office, you must first make a rough picture edit so that you do not spend any time working on images that you do not use. A few images at each end of the shooting (handles) are OK but followed by a 2 minute which was hand held shooting where you actor walk half a block is a crazy race. If there are 200 frames in the middle of this show where you want your player to pass something that put you in the scene, then you cut the blow to those 200 frames work on it, then cut back to the original shooting.

Once you get a hang of Garni you know what kind of follow-up work best for things that you want to insert. If you insert flat elements as a substitute a sign then angle pin followed by AE or Mocha is probably more effective. If you do a lot of rotoscoping too separate the actor from the background so that you can insert something behind him, then you might want to stabilize (Warp not stabilize, it's another thing entirely) the shot. Means that you lock a part of shooting in this position, so it does not move to make it easier to work on stabilization. Can do you the roto, add elements, then remove the stabilization of the shot he and apply the effects and the work of roto.

If you want to insert a 3D object in the scene, then you must trail camera Board. I've done several shots of shots where I stabilize the shooting to make roto, back the motion motion on the game, then camera follow and add my 3D elements in the shot and use the roto as hiding approach for the 3D element.

There are a lot of tutorials on the web that show how to use these techniques. If you type track or stabilize or camera track or track in mocha in the search field help in the upper right corner of the AE you will be directed to a good amount of community resources that will help get started. Without actually seeing the shot you want to take, it is difficult to exactly point you in the right direction. If I was teaching these techniques in a class, I expect to spend at least a few days of class time goes on how to put in place and pull the shot, and then the rest of the week would be spent on the basics of tracking and roto and masking. Then, a day or etc., adding shadows color correction and the rest things you need to do to sell this kind of VFX shot.

If it were my project I would budget about 2 hours for each sequence of 20 seconds where the actor passed a CGI element.

The best way to start is to just fire a few shots with your phone and try some of the different monitoring techniques. Try inserting just a simple text layer or a solid. For example, here's a very quick test shot showing how adding text to a wall using the camera Tracker and use a solid 3D as a track matte for the text. Sorry, there is no audio data.

Here is another addition to a puppet of C4D in a camera track scene.

Two struggling with my phone to use as a very quick demo for a class I was teaching.

Tags: After Effects

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