By Christoffer Trossen and Chris Hartford
For 5 lengthy years, of the main robust nice homes were within the grip of a bloody civil struggle. Raging throughout 8 hundred planets and 1000 mild years, it has affected numerous billions. Now, because the airborne dirt and dust settles, the total tale may be revealed.
The FedCom Civil struggle™ sourcebook information the motion related to each line unit in the course of the civil conflict. Wave maps and entire regiment listings breakdown the maneuvering and battles fought through person forces. Expansive details on over 40 war-torn worlds can also be integrated.
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Extra resources for Fedcom Civil War
5. 6. 7. example, if something moves in front of the point you’ve tracked at any time during the shot. The resulting data give the motion of the camera during the shot. Save the tracking data. Load the stable shot into the tracking system. Apply the saved tracking data to the shot (you may need to split up the shot or loop the data if the reference shot was shorter than the stable one). Zoom and crop the image (if necessary) so that the edge of the frame doesn’t encroach on the footage, and render the sequence out.
You now need to separate the shake from the desired motion. There are a couple of ways to do this. a. If your tracking software has the capability, you can duplicate the tracking data you’ve just collected, smooth (or blur) it, and then subtract that from the original tracking data. b. The other option is to completely remove all camera motion and then manually recreate the original camera move (using the pan-and-scan technique in chapter 9) afterward. If you opt for this approach, make sure that you don’t crop the footage at any point (you may need to increase the rendering region of your workspace to prevent this from happening).
This will form the basic mask (separating into L, A, B channels is the preferred method for doing this, but it is not available in all software packages, in which case you may have to make do with splitting it into H, S, B and working with the B channel). Duplicate the luminance channel a couple of times so that you have three copies. Key each of the luminance channel copies so that one contains just shadow information, one has just mid-tones, and the last just highlights. These will form your three main masks to apply to the original footage.
Fedcom Civil War by Christoffer Trossen and Chris Hartford