![]() I do agree, I can get a cleaner key when using the source footage without converting to ACES way easier than with ACES.Īs for my comment about matching ACES renders, the 3D renders in ACES are extremely well exposed, balanced, and looks great. Thanks gez, when working in Resolve ACES project, the Fusion tab automatically converts images to linear, I found I was doing the wrong workflow again, and have since been able to get a good key out of ACES. Maybe compositing elements with different colorspaces together (but it's hard to tell without looking at the actual example). The fact that you're mentioning saturation and contrast makes me wonder whether there is something off in your colour configuration, as properly exposed scene-linear elements should more or less match between each other, and CG elements designed to match a plate should be relatively close too.Ī notable difference in saturation points to something off. of your source material) it shouldn't be necessary to do a lot of matching. ![]() Some colour matching is of course ok, but keep in mind that if you're doing colour management and media ingestion right (and you have control over the exposure, white point, etc. Regarding compositing itself, it's important to settle a common colorspace and make sure that every asset is in that colorspace prior compositing. So it's probably much, much better to pull your key from your original footage (the result has to be a mask, not a masked RGBA image), then convert your footage to your working colorspace, and then apply the mask. ![]() At that stage, you want to pull as much "captured" green as possible, and moving to a different colorspace will shift the colour you want to pick up with your key. It's always better to pull a greenscreen key from the original footage to avoid crosstalk and other issues produced by the colorspace transforms. Maybe this is not the answer you're expecting, but why converting to ACES to pull a key?
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