![]() ![]() ![]() While it may seem like a good idea to do some editing in AE and build a sequence you'll end up with a composition that is harder to fix when something goes wrong, is more likely to have something go wrong, and is harder and more time consuming to work on when you are actually doing the compositing than it would be if each comp contained a single shot and you did the editing in a NLE. An AE comp should generally include only the frames in a single shot that you actually need to process in AE. You'll be much better off in almost all of your AE work if you limit each composition to a single shot. I get this from your screenshot and the work area that's visible. It looks like you are editing at least two shots together in After Effects. You'll never get Warp Stabilizer to work well Warp Stabilizing the footage first then building the composite. It also makes any roto you have to do much easier and you only process the frames that you actually need. In 90% of the object replacements that I have done in the last two or three years this has been the most efficient way to build a really good composite. I would replace the screen using this technique. Roto will be easier than simulating light on the actors face by hand. If you want light from the TV to effect your actor then feed it a white (for daylight color balanced lighting in the scene) or a yellowish signal to match a tungsten balanced scene and experiment with intensity. The dark screen will let you easily composite reflections on the picture and help sell the shot as real. This slows down the process and can cause a host of other problems, especially on a long shot.Īs for replacing the TV screen, first, if you had anything to do with shooting the shot don't apply green to the screen, just turn it off. That's not usually recommended because you'll have to set the nested composition's resolution to full and render each frame in ram before Warp Stabilizer starts it's work. You can do that by rendering a visually lossless DI (Digital Intermediate) using a suitable production codec of the composite or you can drop the comp you used to create the composite in a new comp and run warp stabilizer on the nested composition. That's the only way that Warp Stabilizer will treat all parts of the shot in the same way. If I had to use warp stabilizer I would only use it after the composite was complete. First, unless Warp Stabilizer is absolutely necessary to smooth out the camera move I would not use it. ![]()
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