Adobe 25510629 User Guide - Page 59

Framing the subject

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After you adjust the lighting and camera settings so that the input clip matches the virtual background as closely as possible, you can bring them closer still by performing color corrections in Ultra. You can color-correct each layer independently. Sometimes adjusting the color of the background to match the input clip can yield better results than correcting the keyed input clip itself. Often a combination of both is ideal. Framing the subject Set the angle, height, and field of view for the camera to match the characteristics of the virtual background that you are using. It's always best to frame the subject as tightly as possible for the selected background. This maximizes the resolution of the image, which translates to higher quality. By contrast, if you shoot the subject with a larger field of view than you are using, you'll end up cropping and probably scaling up the remaining image, thereby throwing away a substantial portion of the camera's resolution. Scaling down an image that's too large preserves quality, and scaling up an image that's too small degrades the image. Virtual sets from the Master Sets Libraries are designed to work best with input clips of a particular framing. The main standardized framings are tight, medium, and wide. The names of nearly all of the virtual sets in the Master Sets Libraries indicate the framing for which they are designed. The consistency of framing across the Master Sets Libraries provides a valuable advantage. The scale and position of the subject are preset for each virtual set. Therefore, you don't have to think about the scale of the subject in the final composited scene when shooting. For example, if the set shows a full-body view of a person who's scaled down and positioned on a stage, you should still shoot with the standard wide framing (with the person's head near the top of the frame and their toes near the bottom). Don't try to frame subjects as they will be positioned in the final composited scene; the set will handle the scaling automatically. One of the advantages of shooting to the three standardized framings is that you can use a shot with a given framing in any set designed for that framing. This allows great flexibility in postproduction. Creating and assigning sources and virtual sets 59

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Creating and assigning sources and virtual sets
59
After you adjust the lighting and camera settings so that the input clip matches the virtual
background as closely as possible, you can bring them closer still by performing color
corrections in Ultra. You can color-correct each layer independently. Sometimes adjusting the
color of the background to match the input clip can yield better results than correcting the
keyed input clip itself. Often a combination of both is ideal.
Framing the subject
Set the angle, height, and field of view for the camera to match the characteristics of the
virtual background that you are using. It’s always best to frame the subject as tightly as
possible for the selected background. This maximizes the resolution of the image, which
translates to higher quality. By contrast, if you shoot the subject with a larger field of view
than you are using, you’ll end up cropping and probably scaling up the remaining image,
thereby throwing away a substantial portion of the camera’s resolution. Scaling down an
image that’s too large preserves quality, and scaling up an image that’s too small degrades the
image.
Virtual sets from the Master Sets Libraries are designed to work best with input clips of a
particular framing. The main standardized framings are tight, medium, and wide. The names
of nearly all of the virtual sets in the Master Sets Libraries indicate the framing for which they
are designed. The consistency of framing across the Master Sets Libraries provides a valuable
advantage. The scale and position of the subject are preset for each virtual set. Therefore, you
don’t have to think about the scale of the subject in the final composited scene when shooting.
For example, if the set shows a full-body view of a person who’s scaled down and positioned
on a stage, you should still shoot with the standard wide framing (with the person’s head near
the top of the frame and their toes near the bottom). Don’t try to frame subjects as they will
be positioned in the final composited scene; the set will handle the scaling automatically. One
of the advantages of shooting to the three standardized framings is that you can use a shot
with a given framing in any set designed for that framing. This allows great flexibility in post-
production.