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Thread: Tudor Rap!

  1. #1
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    Default Tudor Rap!

    There's plenty I could have done if time and finance permitted (like hire a bigger venue so I could get full screen shots of people in front of a green screen). However I may well have missed a trick or two. this is mainly for fun, but I'm still interested in comments. I may make a much more "pop" version of this at a later date (using the same footage but livlier backgrounds/editing and a more varied mix in the music).

    Tim

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    My wife loved Anne Boleyn

    the beard on the little guy was over the top

    fantastic job

  3. #3

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    This is great Tim. It's like junior Horrid History.

    Audio and visuals are spot on for me.

    What more can I say, I enjoyed it very much.

    Well done to all involved.

  4. #4

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    It was splendid. And I am in full agreement with earlier posters. Nice choreography. And a pleasing display of many clever production skills.
    Some observations:
    The tune's key was not suited for all the singers. Whilst just over one octave is generally possible by most singers, there is probably no key which would suit all the artists in this clip. The effects of the low 'B' becomes almost inaudible at 0:12 ("son"), but is wonderful at 0:29 ("survived"). The high 'D' (0:23) filled me with terror.
    The thought the green screen stuff was incredible. But I am curious why the scene at 0:13 looks less good than the one at 2:07.
    I wonder if any more can be done to the background image to make it more 'realistic', particularly the clearly defined images (e.g. arches at 4:02).
    Also. Might there be any advantage in colour grading the first part in some olde worlde colour, which might then turn into a standard colours when the 'rap' begins?

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    Thanks all for your positive reactions.
    Tim, as usual, you have a keen eye and make interesting comments. The key - you right, it was impossible to pick a key which would suit all the voices. I just picked one and didn't suggest it was possible to change it (I've worked with enough female singers to know they'll nag you to change the key and then swear blind at the next rehearsal you've changed it again, and had enough daughters to know a girl is never too young to act the prima donna).

    As for the green screen and realism, I found this particularly taxing. As you would no doubt expect it was done on a clip by clip basis. If we're talking about the same clips 0:13 has the two girls in red looking over their left shoulders and 2:07 is Henry agains a backdrop of a Hampto Court red brick wall & arch. With all the backdrops I added a certain amount of post production "defocus" (and some "soft contrast"). In the case of 0:13 and the shot before, as with many others I actually had two layers, one representing the "further away" part of the image with more defocus, blending with the "nearer" part of the image which had less defocus. This would quite well, except subsequent to posting, I realised I'd overdone the "defocus" on 0:13 and the one before. I could (and did) play around with how much to defocus each backdrop quite a bit and was never totally satisfied ut you have to make a decision at some point.

    It is interestng that you singled out the arches at 2:07 as being too clearly defined. They too have been slightly defocused (though possibly not enough) buut this is exactly the same backing (cut and paste) as used in many of the outdoor dancing scenes and all the outdoor scenes where all six were singing.

    Did you notice a bit of trickery to give a bit of movement to the fountain in those scenes? (More subtle than the one where the fountain is in "close-up")
    Also did you notice the curtains moving in some scenes? I was rather proud of those

    The other thing I had to play around with to get the effect looking half decent was to change the colour of the images to match the environment. The talent was shot with tungsten light and looked great for most of the internal scenes but obviously wrong for the external ones. After plating around with various colour correction and levels effects, I finally found a very simple solution. I discovered the Frederick Baumann Exposure plug-in did a very good job just by increasing exposure a sidgen and then increing the shadows and highlights parameters to suit. This seemed to be able to "blue shift" the skin tones without making them look nearly as fake as using other means. It's far from perfect, and I've made a better job of it in some shots than others, but it's certainly got to the point that the "wrong shadows" are more noticable than the "wrong tone" (IMO)

    As I hinted in my first post, my vision of this was to have them against drawn and/or psychadelic and/or words rather than images (and these images - apart from Windows Castle which is PD - were all taken by Elise on a school trip) so the colour balace there is less relavent. In fact I'll probably over saturate a little. Though I like your idea of desaturating or "sepia"ing (possibly with a vignette) the opening and ending. Hmmmmm....
    Tim

  6. #6

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    I liked it a lot.
    Lighting did not always fit the background 100% all the time.
    At 1:36 I could notice the girl waiting to start. So a slightly later cut would have made it there.
    Anyway I felt entertained

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    One problem I am having with green screen is that as soon as I introduce a bit of backlighting to differentiate the subjects from the background, I introduce artifacts at the edges. I don't see any artifacts in your video, so I am wondering how exactly you set up the lighting.

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    Whilst we all know that lighting is key (pun intemded) I think that software also had a massive part to play in this. My raw footage looked like the attached image.

    You can see that the lighting behind Elise is far from even. I had two lights (one left and one right) with 7 switchable flourescent 50" lamps in softboxes (octagonal about 3-4ft diameter, daylight) left and right of what you see. The left hand one was only about 2 ft from the screen whereas the other was about 6-7ft away (this was due to limitations of the domestic arrangements - don't forget here in suburban Blighty land is outrageously expensive so we don't tend to build big). It was lit with four lamps (200W total) on each side. The proximity of the LH softbox accounts for the very bright spill, but upping the wattage on the other side, whilst it appeared to improve things in the room, through the viewfinder made no difference.
    Elise was standing about 8ft in front of the screen.
    There were three 300W tungsten lamps lighting her, each with some diffusion filter paper, clothes-pegged to the barn doors (thanks RembrantRob).
    One was barely in front of her to the left and the other was at about 5 o clock. Both of these were pretty high for the subject (about 6 ft), but as low as I could get them without casting shadows on the screen. In retrospect I could have gone lower as the software dealt with the shadows easily.
    The hairlight (the third 300W tungsten) was just our of the shot I've attached to the top right of the image. It actually proved to be a little too much in some shots. Creating an unnatutral white glow around the opposite side (ie the left as we look) of some hair.

    The Chroma Key in Vegas would not have achieved much here. my preferred method is to use secondary colour correction which gives independent control over luminosity, hues and saturation. However,having upgraded to Vegas Pro Suite earlie this year I thought I'd try out the chromakey fx in HitFilm 2 Ultimate - what a revelation! Very pleasing results just by dropping the fx on the clip and then so many options for tweaking which, in conjunction wth the various display modes (check out "status" as opposed to "mask") made it really easy to work with. Unfortunatley everything has it's price and swapping each clip out to HitFilm and back put a tremendous strain io the system causing long term freezes and hangs. I discovered by experience that there are certain things you do not attempt to do with hit film projects from the Vegas timeline (creating a subclip and reversing it being one). Also the more HitFilm clips on the timeline the longer it would take for the focus to return to Vegas (we're talking several minutes) which made the whole experience less enjoyale than it might otherwise have been.

    In the end I chopped my edit (something like 200 clips) into four smaller projects which was just about managable.

    Had I known the problem would be so great I'd probably have edited the whole thing in HitFilm (It would have taken me time to learn more about it's editing capabilities, but nothing like as much as the time I lost waiting and rebooting)


    Edited to include the image (finger trouble!)
    Attached Images Attached Images
    Last edited by TimStannard; 11-25-2013 at 07:43 PM.
    Tim

  9. #9

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    Can't really add much more than what has been said already but thought it was great fun and enjoyed it!
    Driftwood - Available on iTunes - www.driftwoodfilm.co.uk

    Follow me on twitter - @DirectorJWebber

  10. #10

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    Don't know how I missed this
    Anyway I thought it was cool Tim ... lots of bling !!! Great lyrics / rap (lol)!!! it all worked for me ... thought backgrounds worked well and the whole video was fun to watch and I imagine fun to make too.
    Love little touches like throwing baby at 2.30 and all the props and clever touches ..... especially with Henry (ie) getting bigger
    yes agreed the Henry beard was over the top and also the same colour as honey monster.
    Great stuff Tim as always ... not sure how I missed it but so glad I found it going through your recent threads.
    Cheers Tim

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