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warp with kronos
Posted by Chortorn on August 4, 2006 at 1:00 amWarp is an option in the 3rd-party plugin “Kronos” by furnace. It should use the motion of a chosen layer (calculated by the plugin, not the attributes: position, scale, rotation, etc.) to create similar motion to the current layer.
However, when I use the effect, the layer shifts its content as well – which is not what I want.
The manual reads:
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Warp – this is an optional layer which allows the user to apply the calculated motion vectors from the source image to another image, thus effectively ‘warping’ one image with the motion from another.
< It doesn't work for me, though. I have tried precomping and enabling time remapping. Anyone?Adolfo Rozenfeld replied 19 years, 9 months ago 3 Members · 5 Replies -
5 Replies
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Adolfo Rozenfeld
August 4, 2006 at 7:39 amIsn’t Kronos the technology behind AE 7’s Time Warp? So, it’s now part of AE pro. The AE manual doesn’t go much deeper into that either, as far as I remember.
Adolfo Rozenfeld
Buenos Aires – Argentina
https://www.adolforozenfeld.com
adolfo(AT)adolforozenfeld.com -
Jack Binks
August 4, 2006 at 12:02 pmHi Guys,
AS Adolfo says, timewarp is a licensed version of Kronos, essentially using the same code. The warp input allows you to push the pixels around one image based on the motion vectors (i.e. the relative, per-pixel, movement) of another image.
Essentially you apply Kronos/timewarp to the layer which is to be the source of the motion vectors, and then pick the layer you wish to displace from the warp drop down menu. Remember, it defaults to a 50% slow down as well, so if you don’t want to do any timeremapping as well as warping by motion, set this up to 100%.
I find it tends to work best when you’re looking to displace an image by some obvious abstract texture motion, so motion vectors from water/fire and so forth create some interesting looks. Your general result is more an effect (sometimes painterly, sometimes abstract), than a workflow tool. One of our Flame guys was showing me a groovy example using a fire texture with a large amount of per-pixel motion blur introduced using Kronos and then applied to another sequence.
If you’re looking for a tool to handle applying, for example, a pan from one sequence to a still shot, then check out F_Steadiness (which is also part of the Furnace on AE package) and using the ‘alternate motion source’ drop down.
HTH, if you’re still running into issues then can you make some footage available so we can take a look at exactly what you’re after?
Cheers
JackThe Foundry, UK
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Adolfo Rozenfeld
August 5, 2006 at 7:16 amMany thanks for the explanation, Jack. It’s really interesting.
Another question, if you read this: Which Time Warp[ (Kronos) parameters should you tweak to get rid or minimize evident (water like) artifacts on slowed-down footage? The AE documentation is far from deep on this.
Thanks again!Adolfo Rozenfeld
Buenos Aires – Argentina
https://www.adolforozenfeld.com
adolfo(AT)adolforozenfeld.com -
Jack Binks
August 7, 2006 at 9:30 amHi Adolfo,
The tearing artefacts you’re referring to tend to occur when the plugin cannot figure out differential motion within a scene (so foreground motion over background), or when it doesnt have sufficient detail to figure out what pixels move where. The first thing to try is to switch up the vector detail, so that vectors are calculated more often spatially, however what tends to be most successful is to provide the plugin with a matte. This matte should specify where the foreground object is, so the plugin can more easily differentiate between the two types of movement.
For a good example of this, and documentation from Kronos, check out the Foundry website on http://www.thefoundry.co.uk: go to Products->For AE->Furnace, then look down the right hand side for the manual and the examples links. Bear in mind the timewarp parameters are a little different, but the mapping shouldn’t be too different to figure out.
Another thing to bear in mind is that if you’re working with interlaced footage, which you’ve interpreted as normal in AE, you’ll want to be working in a comp with double frame rate, so you can check out what is happening on both fields and so the data is accessible So in pal, if you work in a 50fps project the alternate frames are infact the fields in the original footage.
All the best
JackThe Foundry, UK
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Adolfo Rozenfeld
August 8, 2006 at 6:42 amThank you so much for your reply, Jack!
Adolfo Rozenfeld
Buenos Aires – Argentina
https://www.adolforozenfeld.com
adolfo(AT)adolforozenfeld.com
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