Re: Zarban's lightsaber battle project
If you could send me screen grabs of the panning shot for me to make a wide backplate that would be great.
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If you could send me screen grabs of the panning shot for me to make a wide backplate that would be great.
I have some time today and I can record Butterfly's Master's lines. Will post links once I get it done.
Please let me know if you have a preferred audio format (or if you get a better offer)
Cool. My video workstation is back online after a hiatus for room painting. I'm looking at some slight speed ramps during the saber combat. Once we see if we like those it'll be roto time. Probably about a week away.
Faldor, I anticipated your need but procrastinated on the execution. I think I can get you some grabs in the next 24-48 hours.
Fireproof, you are most welcome to the part! A high bitrate mp3 should be right in the sweet spot, but I'm sure we can work with any format you can encode and upload somewhere.
Drew,
I recorded 3 versions of the two lines to be read. I created a dropbox folder with it here: https://www.dropbox.com/sh/kp9a9pd0ham0 … r6Rla?dl=0
Please let me know if you need any thing else. Obviously, any critique is appreciated.
I've downloaded them Fireproof. I won't be able to listen to it until tonight, so I hope you caught the change...and didn't speak her name as "Butterfly"... (Although, if that's his pet name for her how cute would that be? Way better than "Grasshopper.")
I want to open this up for discussion: as currently cut, our main establishing scene is 3 or 4 shots: A. Straya Enters, B. cut to Probe Droid, C. Straya Exits & D. Probe Droid backtracks. Zarban's intent was to have that as a single long take, and in my mind we can make that work in the comp. We are already doing so much with these shots (matte painting, rotoscope around Straya & the stone wall as needed, CGI Droid & camera tracking of two Straya takes) that to combine these shots is not much more effort and would make this the excellent one-er (Oner? Wonner? 1er?) that was planned.
So tell me: am I mad, or just insane?
You're not mad, it's completely doable, in most cases. That's how I pulled of quite a few shots in Traveler 2, to be honest.
EDIT:
Martin showed me the shot in context. It's not even remotely close to the pano thing here, so there'll be problems. What I initially thought was the pano was compiled out of all the available shots in the film, which it isn't, which leads to problems with the method I was implying.
Right off the bat, I'm guessing it's doable, but hard to pull off. I vote for a track by Teague. He's amazing at tracking.
Last edited by Tomahawk (2014-11-18 20:34:56)
We are unanimous, I also vote Teague. He was the soop on set who said the shot could be done, and I'm pretty sure the assertion was that he was going to run with it.
Not sure what you mean about your method though. I'd think the fact that the pano I built all comes from one shot would be a mark in it's favor? The 3D movement in said shot is fairly minimal, but it's there so a 3D track should be fairly possible. Splicing 2 tracked shots together and hiding the cut might take some trickery, but it feels like a few things I've done successfully in the past and the matte painting should help to hide the join.
[strike]Still need: has anyone got a model of the Probe Droid from Hoth?
(or, you know, want to take a stab at a little custom jobber?)[/strike]
Imperial Probe Droids anyone?
http://www.3dcadbrowser.com/download.aspx?3dmodel=19829
or
http://www.3dcadbrowser.com/download.aspx?3dmodel=6155
http://www.sharecg.com/v/77483/browse/1 … played=Yes
Nothing on SciFi3D though, too bad.
Another option just popped up:
http://www.amazon.com/Star-Wars-Torpedo … B00078ZDCK
Would anyone be up for shooting a little stop motion activity with the action figure? Might look a bit hinky without moco cameras, but it might be fun to go old-school on some stuff...?
Last edited by drewjmore (2014-12-06 04:36:04)
I can do things. I'm confused, though — wouldn't this problem be significantly smaller if we didn't cut up the one-r in the first place?
Slightly smaller: you'd eliminate the splicing task and tracking of a second shot.
Trouble is it's a long slow pan that was cut-up partially for pacing and partially to chose from the best speaking take and the best slinking away take.
adding in edit...
That's why I'm bringing it up: the easy path seems to be to leave it alone as cut into separate shots with inserts to tie it together, but the added effort in the comp is really pretty slight (since as-cut we're tracking 2 different takes anyway), unless I'm missing something. I don't want to make this thing less "possible to finish" by adding unforeseen complexity, but if you ask me to make the call: I'm for constructing the one-er.
Last edited by drewjmore (2014-11-18 22:34:53)
I've downloaded them Fireproof. I won't be able to listen to it until tonight, so I hope you caught the change...and didn't speak her name as "Butterfly"... (Although, if that's his pet name for her how cute would that be? Way better than "Grasshopper.")
I want to open this up for discussion: as currently cut, our main establishing scene is 3 or 4 shots: A. Straya Enters, B. cut to Probe Droid, C. Straya Exits & D. Probe Droid backtracks. Zarban's intent was to have that as a single long take, and in my mind we can make that work in the comp. We are already doing so much with these shots (matte painting, rotoscope around Straya & the stone wall as needed, CGI Droid & camera tracking of two Straya takes) that to combine these shots is not much more effort and would make this the excellent one-er (Oner? Wonner? 1er?) that was planned.
So tell me: am I mad, or just insane?
Oops, I did speak her name in the first line reading. I can rerecord based upon any notes.
"Return to the ship:"
I like take 3 the best for intonation and the emotional content: you're giving an order with the right firmness to help settle her down and focus. I'd say go louder though, your waveform looks okay (~minus-six dB) so be sure not to overpower your mic, but your breath is almost as loud as your voice. Back off a few inches and project more...like a concerned father or uncle. And of course, "Straya," in place of "Butterfly."
"MTFBWY":
Take 2. Same thing, it sounds like a caring superior. No need to do the accent like in #3, just be you.
Very clean audio all around though, did you process it for noise? What are you using equipment wise?
Back on the Compositing front:
Here's a better mock-up of the spliced Panorama comp as I imagine it. It's about 10 sec longer than in Owen's cut, but there's plenty of fat in there. https://dl.dropboxusercontent.com/u/29628015/Main.mp4
Last edited by drewjmore (2014-11-19 05:41:01)
"Return to the ship:"
I like take 3 the best for intonation and the emotional content: you're giving an order with the right firmness to help settle her down and focus. I'd say go louder though, your waveform looks okay (~minus-six dB) so be sure not to overpower your mic, but your breath is almost as loud as your voice. Back off a few inches and project more...like a concerned father or uncle. And of course, "Straya," in place of "Butterfly.""MTFBWY":
Take 2. Same thing, it sounds like a caring superior. No need to do the accent like in #3, just be you.Very clean audio all around though, did you process it for noise? What are you using equipment wise?
Back on the Compositing front:
Here's a better mock-up of the spliced Panorama comp as I imagine it. It's about 10 sec longer than in Owen's cut, but there's plenty of fat in there. https://dl.dropboxusercontent.com/u/29628015/Main.mp4
Not sure if you will believe this, but I didn't do any post work. I used a USB headset microphone, and recorded in Audacity. I forgot to get the rate or quality. Glad that worked out.
For the second pass through, I will use a USB microphone, to allow some distance from me to the mic. That will also let me get louder too.
My initial method was to take the images you provided, stich them to a pano like you did, and then move the camera around that space. At the time I didn't know the grabs were all from one shot. I thought they were stills from the angles we had available, all perfectly shot.
Cause that I can do.
Cool, FP. Looking forward to it.
Tom, gotcha. You can build some pretty realistic 3D matte-paintings your way. Works really good for building interiors and planar-surface exteriors. But yeah, you need more pixels for it to work. One of the Sony cameras I use sometimes came bundled with software that could build a panorama from video, but it only worked on the .mts footage that that camera shot, it may also have used accelerometer data like a phone-cam panorama app does.
Question for the shooting crew: did we get any decent location stills?
This is thrilling to see progress. I'm really busy lately and haven't been reading this forum, but I assure you the stars of this little production will be thrilled to know it's coming together!
I've watched the latest rough cut, and it looks great. I'd like to press forward with the effects work and final recording of the computer voices and whatnot.
Many thanks to all the Bothans who died to bring us this cut.
I can record Straya's master's lines, but it would be great to have a dispassionate female voice do Niken's computer lines. Any volunteers?
EDIT: Strike that. I'm told that Straya's lines have already been done by Fireproof. Thanks!
Last edited by Zarban (2014-11-25 20:25:14)
Yeah, we need a WAYDM woman to represent.
Good call.
And do you have the Imperial droid voice yet? I only did the ship computer, not the droid reporting in. Also I used draft 3 of the script...which I assume was the newest?
Last edited by Phi (2014-11-26 03:12:22)
That last take reminded me a lot of FLUDD from Super Mario Sunshine, I approve!
I think we've got ourselves a droid!
Okay Phi, any time I need a computer voice for anything I am ever doing in the future, I am coming to you.
Phi, draft 3 it is, and I must concur with the boys: perfect delivery. You nailed it.
What have you got for the probe droid?
Can you give it an ominous quality like the ESB one?
How many forms of communication are you fluent in?
Actually I think it would be weird and obvious if I did the imperial probe droid since it's right between the other two lines.
In the movies they don't speak intelligibly: https://www.youtube.com/watch?v=pGYYIwOVAIE https://www.youtube.com/watch?v=qxG5BgkfvP8
Just heard this. That's awesome Phi, perfect cadence!
IIRC Ben Burtt performs many of his droid sounds by making babytalk noises and then running them through his magic filters, e.g. much of R2's babble.
Our probe droid sounds (here I'm speaking on behalf of the sound engineer, who should chime and slap me down if I'm overstepping) are going to be heavily processed such that anyone's voice would be unrecognizable.
The "beep beep boop" sounds Phi threw in at the end of the ship's computer lines would be perfect if we, say, sped them up and looped them 20 or 50 times with some random pauses and changes in sequence, or just used the beep and the boop as Morse code tones. Add the eerie radio transmission phasing sounds and we'd have it.
I remember that Teague wants to do the sound mix, but it would be cool if one of you ambient music guys could come up with some good ominous probe droid language samples for him to use. Kyle? AuralStim?
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