Interview with Emmy Nominated VFX Supervisor, Ben Mossman
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- Опубликовано: 13 окт 2024
- Interview with Emmy Nominated VFX Supervisor, Ben Mossman
Ben's 2022 Emmy nomination!
www.emmys.com/...
In this episode I interview Ben and we talk about his job as visual effects supervisor. We also cover vfx tips and some historic moments in the industry.
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I've found that rear projection shots often look fake because they're projected at 24fps and the movie is filmed at 24fps as well... but the two frame rates aren't 100% in sync with each other, causing frame blending that makes it look like the exterior is at a lower frame rate, and motion blurs that don't look entirely accurate either. They also often have the issue of not being a realistic luminance. An LED wall could definitely improve that situation, but also having the exterior run at something like 120fps to allow the camera to generate a more natural motion blur would probably be better as well.
Thanks for watching.
I very much enjoyed this. ✌️❤️ Thank you for sharing it.
You are so welcome
thanks for the important info
You're welcome
Very interesting topic! I've been dabbling in VFX/3D in After Effects and Cinema 4D, and the more you get into it and learn it, the more you realize how little you know and much there is still to learn.
100%
Absolutely 100% true. Check out MAXON's training for help:
www.cineversity.com/home2
I agree too.
Even though I have no desire to deal with "film" production (as many a RUclipsr will "wank" on the word, cinematic as they aspire to do film), It's good to know and understand that special effects are not what you may be thinking it is and there is really no good way, as you said here, to do it easily. I'm more drawn to the documentary/VLog type of shooting anyway so for me, it's 29.97 fps for most things, and at this time, 1080P is more than fine.
I'm in the process now of generating the footage for a video on my work flow as far as video as I'm certain there will be viewers that may find what video, as in the context of digital is like and part of it is the technical aspects of digital video, which means which codec is best for editing, kind of thing. My editing background began over 30 years ago when TV stations and most video houses still did things analog and to tape. Outside of legacy programs that have not been digitized, pretty much everything is now on hard drives/solid state drives etc and are played back on computers. Most broadcast houses I don't think went fully digital until about 15 years ago or so anyway.
Yes, non linear editing is way better than the old linear tape days, but a lot is needed to be known if you want it to look good in the finished product.
Great info John.
Very interesting. I come from the AMIGA VIDEOTOASTER with LIGHTWAVE 3-D in the 90s. It’s incredible how far visual effects have gone in roughly 20 years.
Gilles
I remember the Toaster! And the Amiga kicked ass back then.
Nice video.
Thanks
You're welcome.
My CPU hears me say "water" and melts.
Oh that makes me laugh. 😝
I imagine adobe aftereffects developers are working on leveraging rotoscoping in future updates after seeing this. ..maybe not🤔
The roto in After Effects is for quicky stuff. I doubt they'll do anything radically new as most pros use other tools aready.
HOW ABOUT RUNWAYML?
That is for consumer video editing.