Demo: Adobe’s experimental ‘Cloak’ tech is like Content Aware Fill for video

Yesterday at Adobe MAX, the lucky attendees got to see a few of Adobe’s signature “Sneaks“: sneak peeks at crazy features that are in development. And chief among them this year was something code-named Adobe Cloak.

In essence, Adobe Cloak is the video-editing counterpart to Photoshop’s Content Aware Fill. Simply outline the portion of your video that you would like removed—be it a stationary object or a couple walking through your scene—and Adobe Cloak will intelligently erase them from the shot. This is, of course, something VFX artists have been doing for ages, but automating the process to this degree is impressive to say the least.

Adobe sent us a few demo videos of the feature in action, which you can check out above. And if you want more details about how Adobe Cloak works/was developed, Engadget got to sit down with Adobe research engineer Geoffrey Oxholm and VFX product manager Victoria Nece to talk about the technology, which is still “in the experimental stages.”

The bad news is, there’s no current plans to implement it. The good news? They wouldn’t be working on it if they didn’t plan to implement it some time, right!?

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From:: DPreview

Watch: How to Make Your Boom Mic Disappear Using a Little Magic in Post

By V Renée

The boom mic got in the shot again? But that was the best take!

We’re all familiar with the frustration of getting a great performance from your actors only to find out later that, damn it, they boom got in the shot! It’s so aggrivating, because everything else about the take—the timing, the delivery, the camera movement and focus—was absolutely perfect, but your stupid boom mic just had to dip down into the top of the frame and ruin everything.

But don’t despair, because you might actually be able to salvage an otherwise unusable shot afterall. In this video, filmmaker and former executive producer of Indy Mogul Griffin Hammond shows you a really easy post-production technique that will allow you to not only hide boom mics that float into the frame, but to also purposefully put your mic in the shot, right next to your actor, for better quality sound. Check it out below:

Many of you might be familiar with this technique already and have used it for quick and easy VFX gags. However, as Hammond demonstrates in the video, it can totally be used for more practical cinematic applications as well.

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From:: No Film School

Exploring ZEISS eXtended Data With CP.3 Lenses – Perfect for VFX

By Olaf von Voss

eXtended Data

At IBC 2017 we caught up with Sundeep Reddy from ZEISS to discuss the now-ready eXtended Data feature of the new CP.3 XD lenses. So what is eXtended Data, anyway?

We caught first sight of the new CP.3 line of prime lenses at this years NAB show, more precicely at a special event hosted by ZEISS. Aside the freshly developed CP.3 lenses there was more to discover: A feature called eXtended Data which would be part of a twin-line of CP.3 lenses, called CP.3 XD. These are the same lenses but add a inconspicuous Lemo connector to the barrel. In comes the magic. Aside of its premium of around $1400 per lens this tiny connector is capable of giving your VXF artist a sense of pleasure.

ZEISS eXtended Data

Basically, the XD labeled versions of the CP.3 line of ZEISS lenses can provide you (and your DIT) with the following: A calibrated internal encoder gathers shading & distortion data of that exact lens. The provided data flows through the Lemo output of the lens through a Master Lockit device by Ambient and then further on to your DIT station via wi-fi. Pomfort’s Silverstack or Livegrade Pro are there, awaiting to process the data in real time.

The whole process is based on Cooke’s signature /i data system but this time around with the famous ZEISS , eh.. look.

As a result, you’ll get a so-called ZLCF, or ZEISS lens correction file which is not limited to the already mentioned Pomfort products. DaVinci Resolve is also capable of processing these. The distortion and shading data can then be used to speed up your Post and VFX workflow. Stiching together shots will be far more easy when all the lenses used are already matched up perfectly, for example.

The DIT or AC doesn’t have to write → continue…

From:: Cinema 5d

Stock Footage 101: ActionVFX Teaches You the Basics of Working with VFX Assets

By V Renée

Learn how to work with VFX stock footage from the people who make it.

ActionVFX offers high-quality 4K VFX stock footage from one of the largest libraries in the world. But the company doesn’t just sell stock VFX, it also aims to teach you how to use them like a professional VFX artist. With the launch of its new educational series, “Stock Footage 101,” ActionVFX addresses some of the most burning questions from its users about working with VFX stock footage, and the first episode is already available to view.

If you’re one of the many filmmakers or VFX artists who have wanted to learn how to properly key out a black or white background from a stock footage clip but found that most tutorials default to explaining only Blending Modes, then you’ll want to check out the tutorial below. In it, ActionVFX CEO Rodolphe Pierre-Louis goes beyond Blending Modes to demonstrate several other approaches.

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From:: No Film School