Rotoscopy is one of the most popular AMC services and also one of the most fundamental AMC structures. It includes all of the steps needed to figure out how an object moves over a series of frames. This can be thought of as quickly turning the pages of a book, where each page is a still or frame of something that is happening or has happened. The result of the action of flipping makes us think we are seeing an action or relative motion. This is basically how GIFs (Graphics Interchange Format) work.
Rotoscopy goes beyond recognizing and highlighting moving subjects. The final post-production footage is edited from pre-production footage and composited over another background. This technique transitions by exporting rotoscopy footage. The intermediate file, dubbed Matte, is a black-and-white version of the footage that is designed to be deleted. This film can be placed on an image or video.
2. Prep/ Paint
Imagine playing back your post-production footage and having an “Oops!” moment when a sharp-eyed viewer notices that wires, mics, etc. were left in the wrong place. That’s where the Prep artists, well, not literally, come into the picture. In fact, their job is to clean up any production tools or other things that got in the way while the video was being shot. Sometimes, they may be able to fix dropped frames that weren’t recorded and cause the film to move in a funny way. Plates are the videos that Prep artists work on. Plates are worked on before they are given to the people who do the graphics. Even if they only play a small part, some nasty work by Prep artistes can kill a deal because it shows a lack of professionalism and can lead to bad press.
Matchmove is about putting together fantasy and the real world. Who doesn’t enjoy watching the Primes and Decepticons battle atop the Pyramids of Giza? Matchmove is based on the concept of capturing a scene with two distinct cameras at identical angles. First, a virtual camera captures the motion and facial expressions of an actor whose 3D item will be substituted. This is referred to as a “live action video.”The second was captured using a 3D camera. To accommodate 3D objects in the real environment, the 3D camera simulates the sense of a live-action or virtual camera.
Once the angles of the 3D camera footage and the live-action camera footage match, AMC artists use the latest software and the most advanced computer systems to add the 3D element to the rendered output footage. So, you can make friends with an imaginary friend in the real world.
Once the 3D object is in the scene of interest, it needs to be given a breath of life. Rotomation is in charge of showing what an actor does in a 3D model. The model then learns every nuance of how the actor acts and acts that way. The final footage is made up of a 3D object in motion or action that was fed to it by matching an actor’s movements.
Rotomation lets the 3D model take on the skills of the actor. This lets AMC artists make the 3D object in less time and for less money by using the right software and technical tools.
5.Chroma Keying and Green Screen:
Chroma Keying and the utilization of green screen in parallel is the most fundamental and essential service offered. A green screen is just a green background stretched behind the shooting location. However, without “chroma keying,” the green screen is useless. Chroma Keying is the process of removing a specific color element (chroma) from a video scene and replacing it with another element (keying). This is utilized to accommodate any required background, whether it be of a variable or constant nature. You’ve probably seen hundreds of examples of this in movies, such as the kids riding across the sky in ET, and on television, as it’s the technique employed when someone presents the weather in front of a moving map.
6.LED Video Wall
A LED video wall is a special multi-monitor setup that consists of multiple Direct View LED panels tiled together contiguously or overlapped so as to form one large screen.
Virtual Production means shooting on a sound stage with a specially constructed curved LED wall and ceiling that together form a behemoth known as The Volume. It envelops the actors in a virtual display—like a giant curved TV screen—of any conceivable environment you load into it. It lights the actors with the same lighting profile that’s illuminating the virtual objects seen on screen. Shooting in front of an LED Video Wall background gives your production the flexibility and spontaneity of shooting on location, with the shot control that a closed sound stage offers.
6. 3D/4K Virtual sets
On a modified Jimmy Jib, the stage has a Sony F55 4K camera with a Cabrio Zoom lens. We use an advanced tracking system with motors on the jib and lens to make sure that the focal length of the lens and where the camera is in space in relation to the 3D virtual set are perfectly in sync.
Usually, the only way to move the camera on a green screen is to put tracking markers on the green screen and then use a process called “Cameramatch Move” in post-production to blend the two images.
In a typical green-screen production, the person being filmed, the director, and the person behind the camera are, in a way, shooting blind. The set crew notices the actor(s) moving against a green field that is all the same color.
With our cutting-edge technology, a moving camera is used to put together the actors and the full photorealistic 3D/4K set in real time.What you see is exactly what you get.
It’s always smarter to know a bit about the tasks we want to hire someone else to do. Using the right jargon can make us look smart and aware when we are negotiating. It also lets us be more careful about how we do business and keeps fraudsters who are very smart away.