Once the background is stable, the artist can paint back to a previous frame where the line or wire isn’t seen. If a wire is moving relative to the background, this approach can be very effective. One approach to solving a moving shot is to stabilize the image, fix it, and then invert the stabilization. Stabilise and Paint Back Rigs and wires were required to be removed in the film short film Spider This has the advantage of replacing the minimum amount of the overall image but can suffer if there are other light changes that the ‘patch’ is not matching and tracking in terms of colour.Īt its most extreme implementation, the patch approach becomes a 2D environment replacement which we discuss later.ģ. Various tricks can used to solve this, including compounding or averaging several clean frames, reducing the grain/noise so it can be reintroduced at a later stage.Īnother approach is to patch the wire and then use this new clip as a “reveal back to” clip in a manual painting environment, or roto the patch back in with finer attention to detail than the main patch. Since the fill for the patch is static, considerations need to be made for grain and noise. This works best on static cameras, and does not work on people in movement. One solution using this method is based on finding a clean frame from some other point in the clip and  pasting it over the top of the offensive rig or wire. Rig Removal By Patching Over The Top Wires were used in this shot to launch the actress as if she had been hit by a car Cloning is much more effective, as it clones not just colour but grain or noise that is also almost always  present.Ģ. Of course there are times that wires are only catching the light for a moment,  and thus an isolated frame is still very effectively fixed by a manual painting, either by cloning or delicate painting. While a clone tool works well on a single frame, the lack of frame to frame cohesion means the ‘fix’ boils and becomes very visible once the clip is played. The primary comment made about wire removal is “we’ll just paint it out in post.” But painting out on a per frame basis is extremely difficult when done over a series of frames, potentially causing the images to seem as if they are boiling. ![]() In this week’s podcast, we speak with Aaron Rhode from The Orphanage about the complex 2D and 3D solutions for scenes with wires. We audit the current approaches and techniques of the craft. Far from being the most glamourous of visual effects, in reality wire removal is extremely challenging. In our continuing and popular “Art of…” series, we tackle wire and rig removal.
0 Comments
Leave a Reply. |