Hey guys, what are everyone's thoughts/tips on rig removal in a moving camera shot? Example would be a pan or a tilt shot where the camera is continuously moving at the same time as the character is moving.
Obviously the normal "take a static master background image and put it behind your frame in photoshop and delete the rig leaving your master background behind" doesn't work here because you would need a separate background shot for every frame.
Has anyone had luck with this? Is this a case where I would have to try deleting the rig using some of photoshop's newer tools like clone stamping, or content-aware fills?
The best way is to shoot a "clean plate" of the move, which is simply animating the camera move again without your character. You'll need to have your move worked out with marks on a dial, or some other system that can be repeated precisely.
After you animate the shot, export a quicktime of the animation and import it into a new scene as a transparent overlay. Back up the camera to position one, and check your position compared to the overlay. If your marks are precise, and your camera-mover is solid, it should line up perfectly- but you might have to do some fudging to get it back to the start. Once everything's lined up, shoot the camera move again, checking the overlay to make sure the camera is lining up as you go.
That's great advice. Particularly if the camera move is basically linear. I was thinking more like complex camera moves, I have a geared tripod head and a linear slider (you can see it here: http://www.stopmotionanimation.com/forum/topics/stop-motion-camera-... ) so if I was to do a complex camera move with it, I guess I'd just have to take REALLY good notes about the moves I made!
Thanks, I'll definitely try that technique. Do you know if there is any merit to painting my flying rigs the same green as my greenscreen and using keying techniques to try to remove them?
Nice, I have only read through part of the Dragonframe user guide, (mostly I've read the quick start guide), but I should definitely read the whole thing! I know just getting everything set up for shooting is going to take a couple days... particularly because I'm a Nikon shooter, so it seems nikonians have more trouble than canon users...
Another great suggestion. I'm afraid with my current rigs (they are a double-ball joint style rig) that the swinging in and out of frame on a hinge would end up moving the puppet too much from frame to frame to ensure consistency...however, with onion-skinning in Dragonframe maybe I wouldn't have an issue there!
I'll be using After Effects for post production (and Premiere and photoshop where necessary) and I'm not totally sure about deleting out the rig from the top layer with After Effects, I think I could effectively create a moving mask that I can keyframe and animate along with the rig in the shots though.
My original plan was to import each pair of frames into Ps and delete the rigs in there, but maybe that is ineffecient.
HA, not that I'm surprised with your massive experiential knowledge, but again with the awesome suggestions. I'll look into the tools AE already has available. I've used it a lot, but mostly for traditional animation style techniques and motion graphics. I think the newest iterations of Ps also have an animation set-up, but it's for tradition animation and i think each layer is essential the next frame, so I don't think I could put the pair of frames into the timeline in the same way as with Ae.
I'll do some experimenting with these ideas in mind. Thanks!
Agreed! I have the CS5.5 master collection (got when I was a student, and still took me almost a year to work off) and I'll be using it until support is completely gone...and then some! But I'm a full-time graphic designer, so I use the suite every day...
I did try to do a short hand-drawn animation with photoshop, and eventually got through it, but it was kind of a nightmare...I'll stick with scanning drawings for sure.