The Making Of Budget Murah

[dblackeffect]

sedikit snapshot sebelum di postkan. saje saje la untuk korang tengok. nanti aku tunjuk pre-proses dia.

[img]http://www.geocities.com/monyetbiru2000/making1.txt[/img]

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[img]http://www.geocities.com/monyetbiru2000/making3.txt[/img]

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[img]http://www.geocities.com/monyetbiru2000/making4.txt[/img]

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[img]http://www.geocities.com/monyetbiru2000/making5.txt[/img]

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[img]http://www.geocities.com/monyetbiru2000/making6.txt[/img]

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Ok bye

[bohrtaag]

kt blakang tu kononnya blue screen ke?
boleh eh buat camtu je?
oh ya, montaj apa ni? citre la sket projek ni..

[petrakhus]

apa kunun.. betul la tu. light setup untuk dapat chroma betul si kain biru tak betul time tu.. besaklah.. nak cari framing semua..

result dia nanti abang hitam post. kan bang hitam… bang oo bang itam…

[izmal]

menarik….tak sabar tgk yg seterusnya..aku sokong bohrtaaq,cerita sikit bro…ni tgk gambor je,mcm edisi siasat plak :unsure:

*aik…basikal pon ader :blink:

[bohrtaag]

+ pet: secara tulisan dlm ni mmg ayat aku nmpk camsial sket kot, sbenarnya maksud aku “konon” tu adalah “adakah kain biru yang diletakkan di belakang pelakon tersebut berfungsi sebagai blue screen?” bukan nk memperkecil2kan org eh..? :sengih:

[dblackeffect]

sebenarnya aku nak tunjuk cara bikin budget murah….tp korang kena tunggu le sikit sbb…aku tgh ada job lain ni….masa shot ni aku ada free time so….aku gunakan masa dgn sepenuhnya….
untuk perhatian semua…light yg dipakai…hanyalah light kebun yg selalu ada kat rumah2, takyah canggih2

[dazrenius]

mcm kenal la askar2 dalam gambar2 tu……semoga berjaya geng……

[mysticmind]

apa beza antara blue screen ngan Green screen tuh .. err maksud aku selain dari warna.

cam banyak movie2 tuh.. pakai green screen bground.. ada sesapa leh citer detail ttg guna screen kosong nih? napa tak pakai warna kuning ke? putih ke… merah ke… purple ke..

haa jawab otai2 produksi semua.. sebab dan musababnya sekali.

[Matrush]

blue gelombang pendek, paling skit pantulan dlm spektrum warna. hijau pun kurang pantulan. merah gelombang paling panjang. Itulah yg aku faham. bila skit pantul senang nak isolated imej.

[zogun]

a-a aku pun tatau pasal blue/green screen nih, tapi masa study dulu lec cakap pasal mat salleh ada yg mata biru, so pakai la green screen … tanya pet la, dia pro editing … maknanya blue @ green screen ikut scene la … kalau salah aku tatau, ni jadi ajaran sesat

pasal wavelength or even frequency color tu, tak sure pulak aku … takde jumpa dlm premiere/pshop

explain skit bro black

[petrakhus]

aku pro-editing? chait…

ekcelli, benda alah yang dishoot pakai bluescreen & green screen ni kena disokong oleh seting light yang betul. terutama mengelakkan bayang kat belakang kain biru tu. antara benda lain kena elak ialah kekedutan pada kain.. kerna ia menyusahkan bhgn post. untuk tweak chroma key dengan best.. bebalik masking je kang.. dah la frem by frame. Antara aspek lain masa shoot perlu amik tahu.. ialah white balance dari kamera tu sendiri.. demi menjanakan kebiruaan tu ke tahap biru 255 dalam plet RGB ( bih kurang cam tu la )

ada orang kata.. green screen terbaik untuk composite animation ngan video.. blue pulak untuk live video ngan live background yang berasingan. pada pandangan peribadi aku pulak… sebenarnya takde pe sangat protokol semua ni.. janji objek yang berada dikain tu tak sama warna ngan kain.. cukoplah. ( spt zogun cakap tu ler )

sedara mistik ada sebut pasal.. kenapa kain lain takleh pakai.. kenapa takleh kuning, ungu, kelabu taik anjing.. sebenarnya boleh.. tapi seeloknya jangan sebab matrush ada sebut pasal teori sains mengenai kekuatan pantulan tu sendiri. Ia di sappot oleh white balance & light setup pada studio tu sendiri. Kalau ada tempat pakai kain kuning buat shoot.. kasi tau aku.. aku nak tau rahsianya kenapa.. huh uhu

aku penah dapat satu job ni. tak caya tanya black.. chroma key warna putih. dan yang paling sadis tahap ultranya… objek pun baju putih. Apa kel*anc*u aku nak chroma nya??? dan la setting light cam haram.. so solution black ngan aku buat masa tu.. taklain tak bukan keyframe mask kat frame ttu.. yang mengaburi mata klient ialah feather setting kat area aku mask tu.. seb baik main bg putih gebu kat belakang.. ++ ada la skit skit efek bodo bodo aku wat..

Kalau macam CG file nak dicomposite dalam CG projek kat, 100% animation takde live video. kejadah jadah kain kain ni takyah dipakai langsung. perlu tahu setting transparency alpha je pada objek.. itu saja. kalau pakai ijau gak.. aku jamin.. edges ijau akan kelihatan.. dan mustahil akan seperfek alpha cennel punya.

sekian warkah pelajar giat serba hina ni
peace

[dblackeffect]

tah lah…fahaman aku ler…mengikut kajian aku dlm byk2 the making filem or vfx luar..oversea…sana…rasa aku diaorang ikut scenes kot..kikikiki….kalo….scenes tu byk green colour…diaorang taruk green screen…kaloo…scenes byk kebiruan taruk le…blue screen…supaya…nanti masa key…tak byk kantoiii…

tapi…ade filem …the mars ke ape tah…lupa tajuk ler…diaorang pakai hijau..walaupun…scenes tu byk merah…camna tu…maybe…green n red…fekerunsi dia nak sama kot

[ALYRIDURA]

apsal ko blurkan muke ko black? ko ade rekod buruk ngan along ke…? hahahh 😆
mm.. ni kain yang aku nampak beberpe tahun dulu ke atau kain baru.. ceh ape la punye soalan aku ni…

kalau tgk di sebalik ape jugak production mmg sakit ati. sebab banyak sangat bende ni.. macam ni laa…

ape pun good luck black…

[petrakhus]

tak semesti kain dipakai untuk setting transparency. kayu yang dicat biru pun boleh…

[Paco]

Zaman dulu kala diorang buat keying direct kat filem. Ada certain kind of blue yg takkan effect emulsion kat filem. Kawasan tu akan jadi invisible bila filem diproses nanti.

anuarnor
(yg menggunakan nick paco secara haram)

[issamomar]

wei ko buat citer pendek ke?..citer apa woi….ko jangan buat keje tak senonoh dah la…kakakaka…. 😆

[stonemortars]

Your virtual set begins the same way the weather report does: with a big, evenly lit blue or green wall. You can do chromakeying with any color, but most of the time a pure blue or green are used because they are not present in human skin tones. Which color to use is something of a coin toss. Some folks claim that blonde hair keys better against blue. If you're recording in DV format (say, with a Sony DCR-VX1000) you'll find that green works just a bit better due to its higher luma content. The usual approach is to paint a wall with Rosco ChromaKey paint (available from Markertek or any large video supplier), which theoretically gives a pure color with little contamination from other locations on the color wheel. In my experience, though, you can just go to the paint store and get the purest green or blue they can mix. If painting a wall is impractical, for limited situations you can use blue or green cloth stretched as wrinkle-free as possible. In one show, I even used green bulletin board paper from a local school supply store to extend the green screen onto the floor.

Once you have a green or blue wall, the next (very essential) issue is to light it properly. A misconception is that the wall must be brightly lit. In fact, it is often better to have the wall a little on the dark side to prevent “spill,” or blue radiosity cast on the talent. It is important to light the wall as evenly as possible, since the best results will come from a smooth, even color. In the Cinematte Photoshop plugin manual, some wag (probably Kermit Woodall) has suggested the use of a thermonuclear fusion lighting device positioned 93,000,000 miles away from the subject. In fact, outdoor sunlight can provide excellent results if you use a large blue cloth stretched smooth. If you have to shoot indoors, however, you'll have to light carefully. Four scoops positioned about fifteen feet from the wall and set to half intensity work well. Diffusion material helps somewhat. If you have access to a waveform monitor while lighting the screen, you'll be able to see deviations across the screen; try to light as close to an even 50 IRE across the waveform monitor as possible. Then light the talent separately, watching to avoid hotspots on the wall. It's easier to achieve the best results if the talent is not near the wall. Six to eight feet away from the wall is ideal to prevent unwanted shadows and color spill. If there is a little spill, you can help this with an amber or straw fill light on the talent where the spill is obvious. But don't use this technique with UltiMatte; it will mess up the digital spill-correction function.

– Use the highest quality video format you can. We always use either BetaSP or DV, you'll get rough edges with S-VHS or Hi-8. Don't even try this with VHS footage.

– Digitize at the highest quality your system can handle.

– Use a live analog chroma keyer straight off the camera whenever possible. This is still the highest quality, fastest technique, since you're keying the uncompressed camera signal at 4:4:4 sampling. If you're renting a studio with a green screen, they will likely have an analog switcher/SEG with a chroma keyer. Plan carefully in advance, display your prerendered 3D sets on one switcher buss, key the live video feed from the camera over the virtual set, twiddle the knobs until you're happy, record the output. Bingo, you're done.

– If an analog keyer is available, but you must still record to tape and composite later with AE or other software, here's a great tip: replace the actual green screen with a solid electronic green through the keyer. That way, the software won't have to wrestle with 200 shades of green in the digitized image — and the software controls can be used to fine-tune edges instead.

– Personally supervise the selection of wardrobe for your talent. Whether you are using blue or green for your key color, the wardrobe must stay far away from that color. In one virtual set show, where we used a green screen, I warned the director to select only clothing that had no green in it. Halfway through the live shoots, I discovered that one of the principals was wearing an aqua colored blouse. It looked blue to most folks, but actually contained a lot of green. That minor mistake caused a lot of trouble in post, where I had to hand paint many mattes to fix digital “holes” in the offending garment.

– Spend more time planning in advance. Reshoot live video until it's perfect. Remember that every time you say “We'll fix it in post,” you've just added two days of work to your schedule.

sorry aa aku tak tau nak simplify kan lagi kata katanya.. –

amat – yang dah lupa passwordnya

[petrakhus]

amat yang lupa passwordnya,
hamba ada soalan sardin nak sampaikan…. soalan hina hamba merujuk pada kamera DV

. what if kita pakai non human untuk transparency tu. let say la.. aku ikat benang kat satu mainan kapal terbang… pastu gerakk gerakkan kat blue/green screen.. adakah faktor spt kata kata diatas akan menjejaskannya masa post?. atau teori spt diatas hanya boleh diterima pakai dengan mengetest sendiri di tempat kejadian?? ( spt biasa ).

. adakah elok dilinkkan terus ke pc untuk mendapatkan transparency terbaik secara live. kemudian setting tulah akan mencapture rakaman tersebut?. atau rakam dulu baru layan sental (tweak)?

. bagaimana pulak kalau karekter tu memang custome dia sememang dah dilahirkan dalam cerita ada blue ngan green. kain apa nak pakai? kalau dipakai salah satu kain tu.. mestilah dia ikut sewarna… dan ia akan berlobang masa dipost?. apakah cara betul untuk mengelakkan masalah spt ini???…. ( lame gile dah nak tau ni )

.

[stonemortars]

pet hang telepon dah la pet letih aku naik menaip menjAwab soalan kau…..hahhaaaaha!

stone69 & amat-yg dah lupa passwordnya!

[petrakhus]

mana leh tepon.. hang kasi tau la bebudak pergh ni skali. pahala pa…

ar ar ar ar.. register baru la dey

[dazrenius]

gila respek aku kat hampa…..

[Author]

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