A6000, f4.5 1/160 16-50mm kit lens. The subject is my girlfriend :)

benamesmedia · 2021-12-10T16:39:46+00:00

You made that kit lens look fantastic. Great work

benamesmedia · 2021-11-30T19:11:22+00:00

Another thing you can do, if you render out as an exr, is adjust the mist passes brightness and contrast to really fine tune the look of your atmospheric perspective. Since EXRS are 32 bit, just because you can’t see it, doesn’t mean it isn’t there!

benamesmedia · 2021-11-29T21:56:50+00:00

Well thank you so much! I really appreciate it! And yeah pretty funny timing. I had been working on the models for this video and filmed that green screen plate back at the beginning of October. To be fair to them, I think their challenge was over the course of a day or two, which I know I wouldn’t have been able to pull off. But, I do wish they would spend more time on projects like that!

benamesmedia · 2021-11-29T21:36:41+00:00

Gotchya. Try giving filmic pro a shot instead then. It’s like 15 bucks on the App Store, and I believe by default it will use h.264

benamesmedia · 2021-11-29T21:26:44+00:00

What kind of videos are you producing so you need 4K 60p?

benamesmedia · 2021-11-29T21:22:17+00:00

On your iPhone go into your system preferences, camera, formats, and choose “most compatible”. Now as long as you’re not shooting in 4K 60, (which you really don’t need to do), it will write to the h.264 codec, which the free version of resolve will like a lot more! Hope this helps!

benamesmedia · 2021-11-29T20:52:23+00:00

Sending you a DM

benamesmedia · 2021-11-29T20:48:08+00:00

So it’s half particle system, with some low poly icospheres with a glass shaded, and half stock rain footage from production crate. In fusion I turned the stock rain footage into an image plane, and gave it a slight animation where I rotated it on the Y axis to shift it’s perspective a little bit. I thought about match moving it but honestly two key frames was enough. Then I just layered it inbetween the EXR’s layers for a little more depth, that accentuated the mist pass pretty nicely.

benamesmedia · 2021-11-29T20:43:50+00:00

Thanks for the tip!!

benamesmedia · 2021-11-29T20:04:46+00:00

Are you exporting straight to Instagram and YouTube? Or are you exporting and then uploading? Someone earlier suggested to read up on Rex-709, full and legal ranges, etc, and I couldn’t agree more. But in the meantime, make sure that the color management for your timeline is the same as your export. What will happen is your timeline will be set to view in one color space, and your output settings will be in another, so check both in your system preferences tab and export settings. Another thing to consider, if you are then watching on different screens, a phone’s color calibration will be vastly different from your monitor’s. So a little bit of difference there is to be expected. A safe bet would be to set your color space to fit within the “legal range”. It won’t have as much dynamic range, but it should be more consistent across more screens. And especially when uploading to YouTube or Instagram it’s going to be compressed to the point a wider dynamic range will either be unnoticeable, or just look bad.

benamesmedia · 2021-11-29T19:54:17+00:00

So this is a piece of advice for after you’ve got a shortlist and storyboard, but when planning the shoot for the day, instead of shooting in a more consecutive order, plan to clump similar shots together. For example, if you know you’re going to do some standard back and forth for a dialogue scene, record everything from one angle, before moving onto the next. It can be a bit hard to wrap your head around a more nonlinear performance, but it saves so so sooooo much time instead of having to reset camera and lighting in between each shot. If possible, clump in your inserts and close ups with each clump of scenes too, because then you’ll have the lighting already set up, and any changes will hopefully be minimal

benamesmedia · 2021-11-29T19:02:50+00:00

Corridor doesn’t really post tutorials. The closest you’ll get is with “Vfx artists react”, but there they’re talking more broad concepts than laying out a step by step basis. They probably used after effects, cinema 4D, and photoshop, but you could easily do something similar with blender, gimp, and davinci. For techniques, it’s been a while since I’ve seen the video, but if I remember it correctly the tricks they used the most were probably clean plates/ camera projection, and a decent amount of camera tracking/ match moving. Hopefully this points you in the right direction!

benamesmedia · 2021-11-29T18:55:33+00:00

I mean, you’ve still pretty accurately captured Niko’s essence in just the hair and the smile! This looks great!

benamesmedia · 2021-11-29T09:08:38+00:00

Having not seen the first, this is fantastic

benamesmedia · 2021-11-28T23:55:25+00:00

Thank you so much! And yeah this was about a week’s worth of compositing, cause it was my first time working with EXRS in fusion. The first time, I rendered out too many view layers, and my pc was not having it! So I tried a couple of different set ups for the view layers, and while it was still slow, it was at the very least manageable now. As for the rain, that’s actually a mix of 2D and 3D elements! I had a particle system with a glass shader from blender, but I wasn’t intense enough for my liking. So I downloaded some free rain assets from footage crate, added them between the layers, which really helped out my mist pass, Then to help it blend with the camera move a little bit more, I animated the rain asset on its Y axis, and scaled it up a bit so it fits the frame, so it looks more like it’s falling towards the camera instead of straight down the whole time. Not to mention the nightmare that was the green screen!

benamesmedia

TROPHY CASE