Up until this point in time, I have only created one “screencast” video tutorial on this blog. I have really been meaning to create some more of these type of tutorial videos, because they not only help me in my ability to communicate effectively and teach effectively, but they might actually be interesting to some of the few people who read this little weblog.
This post then, we will consider a step in the right direction, but not by any means achievement of this goal. Namely, I mean that this 2nd Rotoscoping Video Tutorial that follows is exceedingly rough, rambly, random, unrehearsed, raw, borderline-reprehensible, and reeking of underflowed thought-speech-buffer. If you have 30 spare minutes of your time, however, you can get a 1st person experience of not only one of the many things that I have been up to of late, but some information about what rotoscoping is, and how a novice student performs one of the things essential to feature film visual effects.
This is a tutorial primarily centered around the rotoscoping features of the software called Silhouette Roto. A couple of notes: For this screen recording I am using iShowU to capture my screen and my system audio, a decent microphone to record myself, and a software called Mouseposé to show you what keys I am pressing, and what mouse buttons I am clicking. When I press a key, or combination of keys, they will pop up in overlay at the bottom of the screen. When I press the left mouse button, the cursor will be outlined in Blue. When I press the middle mouse button, the cursor will be outlined in Yellow. Similarly, the right button is Red. This should let you know what I’m doing without the need to explain everything.
[Edit -- several months later]: You might also note that the technique of rotoscoping that I am employing in this is somewhat of a “straight-ahead” method, using animation terminology. That is, I am refining the roto shape one frame at a time in one direction. A much better method is to use a “nonlinear” approach, in which one places initial keyframes on key points (extremes) of motion, and then refines the shapes iteratively. This is a better technique because it results in less noticeable motion artifacts such as jittering of points and other inconsistencies of motion.