[Andrew Kramer]

Motion? Unlikely.

Andrew

[Andrew Kramer]

Yeah, there are so many possibilities with this effect.
For example if you have just a still frame of 1 person in a bar, you could draw a mask around him and make him white, then make the bg black and make the back ground out of focus and the then rack focus forward and back. It actually will blur the foreground charachter over the bg element like in real life.

Just think of all the creative ways you could create depth mattes with black and white.

With wedding videos you can create that vingette soft focus around the edges without just masking the center out of a blurred out dupllicated layer…

Not to mention, out of your favorite 3D program render out a depth pass is easy. It make a grey-scal image based on the distance from the camera and you could render out your animation and add “depth” later.

I knew I had to demonstrate what a great tool this was…

Glad you liked it guys,
Andrew

[Andrew Kramer]

Well I can’t speak for all the authors on creative cow, but my feeling when producing a tutorial is that I present the tutorial to the public and by publishing a follow-along tutorial I have a reasonable expectation that my idea(s) will be copied directly as well as indirectly.

Now, is it un-original to use a tutorial without incorporating your own ideas and design? Sure, but is it illegal? I don’t think so.

Would anyone care if one guy used this idea in a school dance video where the editor made $150? Probably not. However, that same usage expectation must extend itself to even Large Companies.

These are only my thoughts, I understand some artists may have presented there ideas as a way to teach the techniques, and not as a free design session.

Now if the tutorial includes copyrighted material such as images or video of talent for the purposes of demonstrating, those rights to use such elements may not be perpetual.

[Andrew Kramer]

can’t you just use the “hue and saturation” effect, just change the chanel and change the range that you want of color, then adjust…
Andrew

[Andrew Kramer]

Not exactly, instead of trying to match 2 comps together, just eleminate the first one and free the second one to start soon but animate later.

[Andrew Kramer]

I would freeze frame the first frame of the precomp with the camera move and then when it’s time let it start playing don’t try to match the frames…

[Andrew Kramer]

Particle illustion would be best, I imagine.
Andrew

[Andrew Kramer]

As long as you have a fast enough storage, you should be have no problem, you also need a good enough computer to capture with.

what’s your setup like?

ANdrew

[Andrew Kramer]

Okay I hear what your saying…

Here is the solution… (dang maybe a tutorial would be easier…)

Basically you need the front and tail of your shot to be exactly what you started with to match up with the rest of your edit.

First off, it doesn’t matter which way you track but however you do start at one end and track forward, rotation and all.

Now the last from of your shot is going to be off-center with some black around it and is going to be rotated slightly correct?

No Problem.

Here is what you do,

1. Make a new Null object and make it the length of your shot.
2. Go to the first frame of the shot and parent the footage to the null with the little whip.
3. Then set a keyframe for the “Anchor Point” and “Rotation” of the null object.
4. Next Go to the last frame of your shot and then with the shot layer selected hit “R”, hold shift and hit “P”. (basically bring up your rotation and position parameters)
5. Now here is the tricky part, Set another keyframe for the “Anchor Point” and “rotation” of the null object at that point in time(last frame).
6. Now copy the value of the rotaion to the end rotation keyframe of the null object, then reverse it by adding or taking away the negative (-)
7. Now Select the last position keyframe of the Tracked shot layer and copy it (CTRL+C) Then select the “acchor point” name parameter and paste the position value of the tracked shot with the last anchor point keyframe of the null object.
8. Add easy ease keyframes to the anchor point and rotation of the null object so that the realignment is smooth.

Basically this reversed, by pasting the tracked position to the anchor point you are reversing the shot back to it’s orginal location.
And by keyframing the first frame of the null it’s position stays constant.

I hope this helps,
Andrew

[Andrew Kramer]

Well you can always select all the keyframe and then adjust the position on the last frame to be where you want it and then the rest of the layer will move relitive.

Or creat a null object and parent the layer and move the null over to line up the last frame…