Hi Jeff,
For some reason I didnt even think about advising him to throw this into Fusion, but absolutely a node based compositor is the best way to go and though Jeff is too modest to say it Fusion has the easiest water and depth fog setup in the comp world right now.
Selective bluring and LOSING detail is the key to making realistic comps, if you shoot a plane you dont have total control so exposure wont be ideal in places etc whereas a 3d guy will generally just make it look great in the first pass. Reality is just messier.
best regards
Mike
On 1/14/14, 7:39 PM, Jeff Krebs wrote:
Hi Lou,While everything mentioned here is all part of art of compositing as elements, Yet, it is truly not about the elements alone, but rather how multi-pass and elelments rendering is combined together is the real secret. Most finishing editors (unless they were using DS which composited quite well) don't do much of this for a living as they usually receive composite results. However, I have been teaching editors to do this with connection and Media Composer. As a matter of fact, I spent the entire weekend in Nashville teaching this among other courses to all the CMT finishing editors. For a reference you can invest a little time in reading about this Multi-Pass in this document. Short versions include a Diffusion, Global Illumination or Ambient Occlusion Pass, Reflection Pass, Speculator Pass, getting deeper you could use Z or world position for fog and masking around objects and so on. So to yes elements are half the battle, it's how they are applied that gives you the realism. If you need help, I can chat with you offline and give some pointers. Beyond editing, I've been doing this for years
Here is the link, invest a couple of minutes and read-on.
cheersJeff
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