Andrew Somers
Forum Replies Created
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Pretty trivial actually, since the “frames” are nearly all 2D rectangles, you can do this with empty frames (or in some shots, a solid card with tracking marks), and Mocha – track the rectangles in Mocha, then add in the appropriate image in AE. Easy peasy.
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Okay, so try this:
1) Create a text layer, and make it outline text (stroke, no fill)
2) Set the comp motion blur to 64 frames under comp settings, advanced. Also set the shutter angle to 360 degrees.
3) Work in 32 bit mode, and put the exposure plug in on the text to bring the brightness up as it will be dim from the blur.
4) If you want really long trails, you’ll need to write an expression that will stack several layers of text with an offset, as the max 64 samples of motion blur is not enough for really long trails.
5) To make the front solid, duplicate the text layer and turn MoBlur OFF, and make it filled, and adjust the stroke size as needed for a tight fit.
The effect looks cool – I’ll make a tutorial if I have the time next weekend.
Example:
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80’s? More like 70’s IMO 🙂
“Digital 3D” motion graphics didn’t really become “the cool thing” in broadcast till about 1984, though the first digital visual effect was in the film “Westworld” circa 1975.
But what you see in the “ABC Movie” is a traditional cell animation and probably combined with an optical printing technique know as aerial imaging – so called because the image is formed “in space” and not on a ground glass or screen. The “extrusion” effect is done by moving the image (forward or back) with the shutter of the camera portion of the printer open for the durations of the move – then the shutter is closed, the image reset to the next starting position, and another move-during-exposure made.
Optical printer:
https://www.oxberry.com/displayimage_page.html
SlitScan is a different technique that is used for distorting a moving image (makign a starship get longer in the jump to light speed for instance), but is not necessary to create the extrusion effect seen in that sequence.
If you want to emulate this look in After Effects, you can do it using some of the same techniques, albeit digitally – create the 2D artwork (illustrator), then use masks and diffusions (i.e. glow) to augment, and animate in 3D in AE.
You might try adding the extrusion effects by using motion blur and Z-axis moves in a pre comp – you’ll probably need an expression to do this, so that on each frame has a very large Z axis move creating the moblur extrusion. The only problem with AE is that you are somewhat limited by the number of iterations of mo blur.
Hmmm… just thinking – if you do a number of layers (stacked< and mo blur them all, you might be able to get it...
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I’m having a go at my first green screen edit and I’m using the chroma keyer in FCP
The built in keyer in Final Cut is pretty much worthless.
A plug-in that *is* pretty useful for FCP is:
https://www.dvgarage.com/dvmatte-pro
And it does a surprisingly good job with material that has limited color resolution (4:2:2 and below).
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You should know that the color resolution of a DSLR is the same as that of DV,
Actually, NTSC DV is 4:1:1 and most dSLRs are 4:2:0. The difference is significant for color keying.
As a guide:
4:1:1, the color has full vertical resolution, but only 1/4 of the horizontal resolution.4:2:0, the color has 1/2 vertical res, and 1/2 the horizontal res.
4:2:2, the color has full vertical resolution, and 1/2 of the horizontal resolution.
4:4:4, the color is “full res” both horizontally and vertically.
It is better for keying operations to have 1/2 res in both axis, than 1/4 res in the horizontal axis. Note that in 4:2:2, there is only 1/2 res in the horizontal axis, and that makes 4:2:2 less than desirable for keying as well. Nevertheless, people do get useable keys from 4:2:2 and 4:2:0 material, though 4:1:1 is horrid to try and pull a key from.
Your best keys will be from 4:4:4 material – 4:2:2 and 4:2:0 with the color being 1/2 res in one or both dimensions will not give the cleanest key. 4:1:1 material with color being 1/4 in the horizontal dimension will give the *worst* key. 3:1:1 (Sony F900) is also terrible for keying.
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I’ve seen some liquid simulations done with Trapcode Particular, so that may be possible, but the video clip you present looks more like it was done with something like RealFlow or perhaps Blender.
Here are some examples of fluids in Trapcode:
https://www.youtube.com/watch?v=PxW2bYHEHRw
And this was done in Trapcode Form:
https://www.trapcode.com/journal/2011/6/25/afloat-by-barbecue.html
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DOF is a function of the max circle of confusion of the final image *as viewed*, and is affected by aperture size relative to the focal length and the camera’s distance from the subject.
It is also *limited* by diffraction, and as you make the aperture smaller, diffraction limiting comes into play – especially apertures smaller than f11 to f16.
If you need large DOF, used a wider focal length, and keep the subject farther from camera – for max DOF, set focus to the “hyperfocal” length, and keep the subject in the hyper focal area.
For instance, on a 35mm lens, at f8, set the focus to about 20′, and everything from 10′ to infinity will be in focus.
None of this is why you want pro glass like a Canon L series, or Nikon pro glass – high end lenses will give you better bokeh, better edge to edge performance, etc etc. Of course, high end lenses will also tend to be able to work at larger apertures, which will allow you to make the DOF very narrow and selective. But you can stop them down for large DOF, just as you can with lesser lenses.
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Can I use 60p footage from a 60D and then use Twixtor? Are all Red cameras capable of 300fps frame rate?
60 fps will only get you part-way – and not the “super” slow mo that you see in the above video.
You can use a plug in like the built in TimeWarp, or FOundry’s KRONOS to do flow-field time remapping – but me aware that you can really only “double” you fps rate before really bad artifacts come into play.
https://www.thefoundry.co.uk/products/kronos/examples/
THough this guy did a good job using just time warp to get effective 1000 fps:
https://nofilmschool.com/2011/04/canon-7d-1000-fps-slow-motion-surfing-video/
though it should be noted that WATER is one of the easier things to retime this way. Hard objects – like cars – reveals the artifacts clearly.
A lot of the material that was in the video above mostly looks to be in the 300 to 1000 fps mode.
As for 300 fps, not all RED cameras will operate that fast, and those that do typically have resolution limitations as well.
Here are pumpkins being smashed at 300 fps, then Twixter was used to make some of them 1000 fps:
https://cinescopophilia.com/red-epic-300fps-footage-slowed-down-to-1000fps-in-twixtor/
Here is some 1000 and 2000 fps examples:
https://cinescopophilia.com/weisscam-hs-2-camera-vision-1000fps-2000fps/
The relatively cheap Casio EX-F1 goes up to 1200 fps, but the quality is fairly poor.
https://www.amazon.com/Casio-Digital-High-Speed-Optical/dp/B00155WX90
Though it appears not too bad at 300:
https://windowhummingbirdfeeders.com/300fps-slow-motion-hummingbird-maneuvering-around-feeder/
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The late great Ultimatte Advantedge was good at handling this kind of thing all by itself (sad that ultimatte discontinued support) – IMO Primatte and Keylight are less effective as “one click” plug ins. Instead, use Primatte or Keylight to generate mattes, and then use those mattes as alpha channels and/or in precomps using various transfer modes as needed for color suppression in transparent and soft objects.
For a non – roto approach, see this tutorial that is very useful for blurry and transparent objects:
https://www.videocopilot.net/tutorials/advanced_soft_keying/