Alexxx
Forum Replies Created
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You could also try the old favourite of Quicktime + Animation (set depth to Million colours+) and RGB+Alpha.
It uses lossless compression, not as good as PNG but still ok.
Alex
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Yeah, we had to fake it in the end, too, purely on deadline.
Checked out your reel, nice stuff. Particularly liked the Sturt Mall stuff. You work out that way? (ie. wagga wagga).
Alex
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Hi Michael,
We did a test of this recently and ran into the same issues as you. We had to do some inserts for inner city traffic which was ok because there usually tons of stuff you can use as tracking points to lock onto. Because we travel at low speed <60kmh the motion blur wasn't too bad for the tracker.
However, what you have there seems to be a bit faster. This makes tracking a spot a bit more difficult with that much motion blur. We tried sticking tennis balls on sticks where we want to track the sign to...this worked "okish". If you cannot afford to re-shoot, and you have nothing good to track to then it's going to get a little fiddly.
If I had to do it again I would probably employ a 3D tracker like syntheyes or pftrack maybe and see how it goes placing signs using that. But again, at high speeds with motion blur, the trackers are going to run into trouble.
In the end our deadline got the better of us and we had to manually keyframe the movement to match. Not necessarily every frame. We tried to let AE interpolate as much as possible for smooth movement, but yeah, still had to do the movement and rotation manually. It looked good in the end. Keep in mind, though, once you match motion blur with the real footage, signage with details can become quite unreadable. Video a real sign and you'll see what I'm talking about. When we drive our eyes adjust to the movement and read the sign as it moves, a locked down camera doesn't do this and motion blur will come into play on anything not directly infront of the camera.
So after all that typing, I haven't really given you a rock solid solution, more an indication that what you are up against is not uncommon.
Hope you have luck with and not too many sleepless nights like us. 😉
Alex
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Check out these crazy things:
https://www.visiblesolutions.com/
Haven’t used them personally but have seen their name kicked around a few times.
Alex
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Hi there,
From what you’re saying you will need a map double the size of your final render because you want to zoom in to 200%….if that makes sense. Basically, any part that you want to fill the screen with (say you want to zoom in on Italy) needs to be the resolution of your comp at a minimum. So if at any time you want to come from a world-map view down to just italy, that means in photoshot, when you measure the pixels across just the italy part, it should be 720 pixels to give you no pixelation when you zoom. This of course makes the whole image 1000s of pixels wide (and high), but that is what you need to take into account if you are going to zoom into parts of any image.
Remember, you can always reduce the size of an image in AE, but once you increase past 100% scale, it will start to pixelate. You can sometimes go up to 110% without it looking to bad, but 200% is quite high without major pixelation.
So this map would be in AE mostly at 50%, and when you zoom in, you scale to 100% centering the section you want to focus on.
Hope I didn’t confuse you.
Alex
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Do you want blood flowing (ie, movie footage) or still images of blood splatter marks? The latter is pretty easy to find on google. Just search for photoshop splatter brushes. You can make them any colour to suit the lighting in your movie.
Alex
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Heh yeah, I know what you are saying. I barely made it through Maths at school so I won’t pretend I know the formula to determine this. I would just set up the average speed of movement from left to right in POSITION, then have a look how many pixels it moves each frame. Say 5 pixels. Then I’d wiggle the anchor X position by no more than 5 per frame (or 10 every 2 frames etc). In theory, you should be able to get it to never go back. Of course, after eyeballing all this with trial and error, I would just quickly step through the frames to make sure it definately isn’t stepping back.
Good luck
Alex
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I’m not in front of an AE station, but try this. Animate the X position from left to right as you mentioned. Now apply the wiggler to the X ANCHOR position. As long as you don’t make the anchor move back to the left faster than you are moving the position to the right…it SHOULD just look like it’s stalling and speeding up. Not sure…try it and see.
Alex
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Does it HAVE to be .avi? Generally the most common format for exporting high quality footage WITH alpha is Quicktime-Animation. A lot of people use this a it’s compressed lossless and allows for an alpha channel all in the one file.
Just do your green-screen keying and then render to Quicktime, Million Colors+ and RGB+ALPHA and make sure you select the ANIMATION codec.
Now bring that back in and see. You should have the alpha all intact from the previous key-job.
Alex
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There’s heaps of ways you could do this. Off the top of my head I would probably just make a copy of the text layer on top of the original and change the colour of that text to what you want to wipe to. Then apply the transitional line wipe and basically “reveal” the new colour. To just do it to one letter, just mask it out.
Alex