41–50 of 119 posts
There's still a bug: the glass with water does not distort the checker pattern in the background at 24:12.
Earlier quoted context omitted.
Don't humans and other warm objects also radiate IR?
That is far-IR, thermal stuff, Near-IR, 700 nanometer-ish is right below red in human vision. Camera sensors can pick up a little near-IR so they have have a filter to block it. If that filter was removed and a filter to block visable light was used in place you would have a camera that can only see non-visable light. Poorly, the camera was not engineered to operate in this bandwidth, but it might be good enough for…
At least for cheap sensors in phones and security cameras that engineering consists of installing an IR filter. They pick it up just fine but we often don't want them to.
Keep in mind that sensors are inherently monochrome. They use multiple input pixels per output pixel with various filters in order to determine information about color.
The sad thing about this is the problems encountered during post from the production team saying "fix it post" during the shoot. I've been on set for green screen shoots where the lighting was not done properly. I watched the gaffer walk across the set taking readings from his meter before saying the lighting was good. I flip on the waveform and told him it was not even (which never goes down well when camera dept te…
FWIW having watched the entire thing, they never blamed bad production staff or unavoidable constraints. Those are things that anyone working with others experiences when making anything, whether it's YouTube videos or enterprise software products. My TLDR is: "Chroma keying is an fragile and imperfect art at best, and can become a clusterf#@k for any number of reasons. CorridorKey can automatically create world-class chroma keys even for some of the most traditionally-challenging scenarios."
There's still a bug: the glass with water does not distort the checker pattern in the background at 24:12.
True, but with visual art there is what is correct and what looks correct. When things are moving and the area small no one is going to notice. But now that is problem is solved a director will come along and say... I want a scene with a big glass of water and the camera will zoom in on it and will see the monster refracted through the glass.
I'm a software engineer that, like the vast majority of you, uses AI/agents in my workflow every day. That being said, I have to admit that it feels a little weird to hear someone who does not write code say that they built something, without even mentioning that they had an agent build it (unless I missed that).
This is interesting. I had the exact opposite reaction. You don't hear architects get hounded because they say they "built" some building even though it was definitely the guys swinging hammers that built it. But yet, somehow because he didn't artisanally hand-craft the code, he needs to caveat that he didn't actually build it?
Earlier quoted context omitted.
You’d have to track it, render it, and comp it in. It’s not ridiculously difficult, but there’s no way that’s going to happen automatically.
>there’s no way that’s going to happen automatically They train their model in a pretty straightforward way, it can also be used to capture the distortion as well, just use a non-monochrome (possibly moving) background optimized for this. It's a matter of effort and attention to detail during training (uneven green screen lighting, reflections, etc), not fundamental impossibility
The sad thing about this is the problems encountered during post from the production team saying "fix it post" during the shoot. I've been on set for green screen shoots where the lighting was not done properly. I watched the gaffer walk across the set taking readings from his meter before saying the lighting was good. I flip on the waveform and told him it was not even (which never goes down well when camera dept te…
I fully agree but I think for them making it possible to cut corners during production is the whole point. Think about it: The choice is between 5 minutes of work plus a one time purchase of a decent GPU and a big room with a complex lighting setup with a post supervisor present. Now, quality of the end result will not be the same, for sure. You and me would opt for the quality setup whenever we can, but many others…
The sad thing about this is the problems encountered during post from the production team saying "fix it post" during the shoot. I've been on set for green screen shoots where the lighting was not done properly. I watched the gaffer walk across the set taking readings from his meter before saying the lighting was good. I flip on the waveform and told him it was not even (which never goes down well when camera dept te…