4k matte painting for RED's green/blue screen

[Harva Raj]

i believe most of you have seen astonishing matte painting in movies like LOTR and Star Wars which i believe made in 2k. is it possible to do a matte painting in 4k resolution in photoshop for RED's green/blue screen and still aspect them to hold it nicely? how will they hold up in film or digital projection. and will they be any pixelation or artifacts seen in that projection.

if anyone have done green/blue screen for red footage what is the ideal resolution to start working on the matte paintings. 5k matte paintings maybe?

[M Most]

i believe most of you have seen astonishing matte painting in movies like LOTR and Star Wars which i believe made in 2k. is it possible to do a matte painting in 4k resolution in photoshop for RED's green/blue screen and still aspect them to hold it nicely? how will they hold up in film or digital projection. and will they be any pixelation or artifacts seen in that projection.

if anyone have done green/blue screen for red footage what is the ideal resolution to start working on the matte paintings. 5k matte paintings maybe?

Digital matte paintings have routinely been done at 4K and above for some time now.

[Rudi Herbert]

Check the CG Society website, I think it is www.cgsociety.com and check the galleries and portfolios, there are tons of examples made at 4K AND above. By the way, if anybody ever needs amazing artists to create matte paintings for you, that is the best place to find them, each artist is listed with a portfolio, contact info, etc. I've gotten a couple of projects done through there for about a very reasonable price.

[Vincent Thomas]

Most of then are done in larger res than 2k, 4k is very commun. Instead of thinking of resolution, think of 3dtracking... Be carefull that depend of the camera mouvement, red rolling shutter may make 3d tracking not possible...

v*

[Jeff Kilgroe]

Be carefull that depend of the camera mouvement, red rolling shutter may make 3d tracking not possible...

Not sure what this has to do with the original topic of this thread... But the skew we see with RED due to the scanning CMOS or "rolling shutter" is not that unlike the skew we see from film or other acquisition sources. Yes, the skew in the RED One is more pronounced than with most film systems. But without some degree of skew, the image becomes too sterile, IMO and looks like a CCD imager video camera. Like many other image artifacts and optical defects that crop up from using a camera, skew must be properly dealt with and compensated for if you want to do certain things -- like tracking.

As for tracking, RED footage works beautifully.

Very high resolution matte paintings have been common for a long time now. I've been using mattes and texture images at resolutions over 3K and 4K in 3D animation for over a decade.

[Harva Raj]

Very high resolution matte paintings have been common for a long time now. I've been using mattes and texture images at resolutions over 3K and 4K in 3D animation for over a decade.


i've done some sample 4k matte paintings and it looks ok on tv (SD) screens. but have you tried to view the 4k matte paintings in film (3k) projection? how do u determine a matte is not pixelated on in 4k without monitoring in 4k?

and does REDCODE works well with other compositing file systems like the .psd?

[Vincent Thomas]

Well Jeff, i don't know what your profession is but i have been working in the 3D profession for more 11 years now including on films like KingKong and i could tell you that Red could give a hard time to your 3D tracking software. And if your 3D tracking is wrong, good luck to you to composite your 4k or 6k matte painting...

v*



Not sure what this has to do with the original topic of this thread... But the skew we see with RED due to the scanning CMOS or "rolling shutter" is not that unlike the skew we see from film or other acquisition sources. Yes, the skew in the RED One is more pronounced than with most film systems. But without some degree of skew, the image becomes too sterile, IMO and looks like a CCD imager video camera. Like many other image artifacts and optical defects that crop up from using a camera, skew must be properly dealt with and compensated for if you want to do certain things -- like tracking.

As for tracking, RED footage works beautifully.

Very high resolution matte paintings have been common for a long time now. I've been using mattes and texture images at resolutions over 3K and 4K in 3D animation for over a decade.

[Steve Abbott]

Could you elaborate on the possible problem with 3d tracking.

Thanks

[Steve Abbott]

any one?

[Stephen Williams]

Could you elaborate on the possible problem with 3d tracking.

Thanks

Hi,

Lack of accuracy, won't bother everyone a bit like portholing on Zeiss Standards.

[Jeff Kilgroe]

Whenever you perform image tracking operations, especially those intended to track a specific object, you have to deal with various types of image distortion. Distortion can come from multiple factors such as lens distortion, motion blur, shutter skew, registration variance. Some of those are present in digital systems, some not. Likewise there are some elements of distortion that are more subdued or manageable on film -- like skew (rolling shutter).

That said, I still stand by what I wrote above... The skew issue with the current RED One is often blown way out of proportion. And a geometrically perfect image is nearly impossible to come by, regardless of whether it has been shot digitally or with film, lots of factors come into play here. The upcoming Mysterium X and Monstro sensors are said to provide much faster reset times for less skewing or rolling shutter effect. While that is welcome for many things, we also don't want to eliminate that effect entirely for many creative purposes... It's hard to completely replicate the look and feel of film or organic media without it. Ultimately, I'm hoping that the amount of skew, and other properties of that skew, such as direction, pattern behavior, etc.. can eventually be customized by the end user -- effectively giving us the power to simulate different types of electronic and mechanical shutters or create our own.

[Jim Hoffman]

http://www.cgsociety.org/