Lee Lanier

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About Lee Lanier

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  • Birthday 02/07/1966

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  1. If you use RCM, make sure the Input Color Space is is set to your camera log space. Set the Output color space to Rec. 709. Then, it's up to you if you want to have the Timeline color space (the space your grade in) set to your camera space or Rec. 709. Lesson 7 will walk you through RCM.
  2. We are in the process of re-uploading the old project files, so stay tuned.
  3. We just updated this course to cover wide gamut, new HDR features, DRTs, and other changes with version 17. The videos on this page have been updated and new videos have been added.
  4. I find Fusion a little awkward for extensive rotoscoping,, but the built-in tracking features can help make it easier. It would be worth checking out my advanced Fusion rotoscoping course at Lowepost. I use After Effects quite often because it's very simple and straightforward, plus the Mocha tracker is excellent.
  5. Aside from ACES and RCM, I didn't cover wide gamut workflows in this course. If we update the course, it might be a good topic to add.
  6. Hmm, I vaguely remember an issue like this awhile back. I would try to purge the cache and restart and possibly reboot . If that doesn't work, maybe run a test by converting the sequence to a different image format. Assuming that the sequence is visible when working with other nodes, a setting shouldn't cause that to happen.
  7. Instead of dropping the original Fusion comp into a new timeline, trying dropping the original timeline (associated with the Fusion comp) into a new timeline. That seems to work for me. The roto comes through fine despite a difference in resolution between the two timelines. You can stack timelines and clips if you need to.
  8. When it comes to complex paint fixing, you will probably want to use Fusion. The Patch Repair plug-in is easy to use, but it's very limited with its options. In Fusion, you can use the Paint tool in Clone mode to remove a moving string.
  9. You might try matching the domain in Fusion to the new timeline resolution. You can do this by adding a Resize tool or one of the Domain tools right before MediaOut.
  10. ACES offers a simplified workflow. RCM gives you a bit more control by allowing you to apply the camera LUTs. I would test both ACES and RCM and see which one suits your footage the best. There are so many permutations with color management, it is hard to predict which one might give you the best result.
  11. ACES offers a simplified workflow. RCM gives you a bit more control by allowing you to apply the camera LUTs. I would test both ACES and RCM and see which one suits your footage the best. There are so many permutations with color management, it is hard to predict which one might give you the best result.
  12. You can combine clips and animate their opacity in Fusion. You can combine clips in pairs with a Merge tool and adjust the FG input's opacity by animating the Blend parameter. However, for general editing, where you arrange, overlap, and add transitions to clips, I would use the Edit tab. Fusion will build a separate comp for each clip within the Edit/Timeline tab.
  13. You can chain keyers together, where one runs into another - but this can lead to alpha problems. A better solution is to use garbage masks to limit the amount of green screen you have to remove. Is it possible to cut off the dark area of the green screen with mask?