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Showtime Boxing
Allowed Spike Lee to see how Johnny Mathis would look when matted into the ring with Tyson and Holyfield |
Radio Shack
Allowed for precise sizing and placement of dancing cellular phone onto Radio Shack store counter image |
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Mighty Joe Young
Extensive multi-layered tests for the "Mighty Joe Young" feature |
Armageddon
Previz composite of on-set bluescreened gargoyles composited with shot of meteorite hitting Paris |
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For those who shoot blue/green screen on film:
Our F/Xtap® has been designed to help those who shoot all types of bluescreen or greenscreen effects on film. Key Benefits • Saves time and money in both production and post • Allows live previsualization of multi-layer composites on set Capabilities • We've used the package on 16mm, Super 16, 35mm and VistaVision® The Details With our F/Xtap® installed onto the film camera in place of the usual video tap, you can bring your existing background footage, graphics, or pencil tests to the set and insert them into the blue or green screen behind the talent or product to show the director how the final composite picture will look. You get an immediate, accurate, layered image showing whether an effect is going to work as envisioned by the director, agency or client. Click here to see an actual F/Xtap® composited image. |
Clean multiple layer mattes showing if gestures, prop placement and eye lines are working can be viewed and recorded right on the set. These recorded matte composites can be shipped overnight to clients for quick approval (or to show work in progress), or handed to an editor as an illustration of the director's vision. The image quality from the F/Xtap® matte composites is far superior to the usual murky half-dissolve from the usual soft tap, especially after several layers have been recorded. You'll be amazed at the difference. Click here to see other actual F/Xtap® composited images. Additionally, our skilled Matte Consultant, working closely with the DP and director, monitors and tests the quality of the matte using an actual Ultimatte® on the set. This reveals any irregularities in lighting on the screen, any color contamination on the subject, prop and wardrobe incompatibilities, and so forth. While it's true that postproduction compositing tools work better than they did a few years ago, how much time and money did you spend in Flint®, Flame®, or Combustion® cleaning up your last matte shoot? Problems can be corrected in real time as we watch, saving the effort and money which would normally be spent in post production cleaning up a flawed image. |
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