You could clone on to them using a matrix, then use a tracer to connect, then current state to object maybe?

thank you again

I mis spoke about my problem, im sorry! When, as Maxon suggests, I collect project with assets, it does indeed save them to tex folder with friendly names , but, in the project inspector, it retains the complex names so the files are unlinked. I dont know is this a C4D quirk or is it Octane causeing some issue?

Im sorry for my…

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Hi Kouraib,

Thank you, yer I know I can rename the files but in a project with many textures its time consuming, then having to re link.

I was just wondering as when they are displayed in the asset browser, they have ‘friendly’ names. I was hoping it was a setting or something I could change so it uses that name rather than the complex name with…

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Hi,

I use the asset browser a lot, and it helpfully copies the textures into an asset folder in the project structure. Unfortunately, it gives the files funky name, I’m wondering if there’s a way to stop this?!

The render service i use very much dislikes the weird names and characters used.

Is there a way for the saved files to retain the name they…

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one way is to look at the UVs, if it isnt already, make the frame a seperate island, then create a texture, add a UV layer to it (it creates a layer with UV lines drawn on it), then export that. Open in PS or similar and paint the maps you need.

If the UVs have already been laid out and you dont want to change them, maybe use polygon selections instead.

You can also use Video copilots VC Colour Vibrance plug in, turn vibrance to zero, set matte alpha to only and boost alpha. Ive not had any issues using it… so far

ok, pro res should be fine, make sure youre working in 32bit and export with PR4444 or PR4444XQ,

see if that helps?

Apologies, I think I jumped the gun.

Can you tell me what format you’re export from ae/me ?

Exr is an image file, so you export exr sequences, they have the ability to hold lots of data.

Colour management is how aftereffects reads in the colour data of the input file, put extremely simply.

ACES is a version of colour management , it is very good a…

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what colour management are you using?

what export settings are you using?

best to export as exr (piz), i think, even better to use a ‘correct’ ACES workflow for log

perhaps it is the anchor point. Maybe try and copy the path to the position of a null, then parent the rocket to the null, may give more flexibility.

Or, make sure the rockets anchor point is in the middle of the rocket.

Thank man yes very helpful,

On further research and testing, I have found that reducing parallel samples to lower, such as 4/8, this frees up alot of Vram. Also using the built in texture compression wisely you can free up more.

I guess its a case by case and trim the fat as much as you can, and buy bigger cards when you can!

Thank you

Hello,
Im after some advice, if any one is feeling generous…

Recently I have been making projects with higher poly counts, such as large scale airports and high poly kitchen appliances. Quite quickly I come across problems with Vram, not enough Vram.
I go through striping models down as much as possible, use instancing as much as possible, reduce…

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maybe you can precomp the image and mask it in half, move anchor point to centre, duplicate, invert mask (now you have two layers making up the whole image), then make both 3d layers and you can rotate both in opposite directions to ‘fold’ it up (with a camera in relevant position)

Hi again Josh!

For this kind of very specific texture, I probably wouldnt use a content aware fill type deal.

I would track the area, make a PSR null and attach a still frame (a frame painted in PS), the mask in where needed. Then use a levels effect if there are any lighting changes.

This will work for a camera that isnt moving too much though (as…

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Hi Josh,

Could you explain abit more what youre trying to achieve? Like, what you are wanting to paint out?

If you are using Mocha AE, which is a great tracker, its worth fiddling with what is getting recorded during the track. If there isnt so much parallax in the shot, unticking the perspective can help. Sometimes just having transform is best,…

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it looks like an icon associated with uv/painting/bodypaint. Have you tried resetting your workspace?

Thanks Kouraib.

Good suggestion for the initial pile.

I played further, managed to make a simple pile, made editable and then put into fracture object to allow me to use mograph. I then used spline effector and others so get me somewhere. I think this gives me some flexability for art direction, as i know the director will want to fiddle!

To reduce…

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Hi,

Im hoping someone can help me find a direction to solving a problem. I need to start with a pile of laundry, t shirts, shirts jeans etc.., This pile then flies in a loop into a washing machine.

Ive added a quick vid to illustrate.

Currently im struggling to pile the clothes without my PC grinding to a halt, and even then I have little idea on how…

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sometimes there’s only so far you can take it ( its what i find anyway!) For what’s left, i would suggest using RotoBrush3 on it, this will give you a fairly decent mask with a bit of work. Then use as another layer or matte or whatever. Id suggest rendering out the RotoBrushed layer to a mov and reimporting as the effect can get in the way sometimes!

I guess im missing a part of the set up as I cant replicate, Ive attached an ae file for how i did what I think youre doing, let me know how it differs.

Hi Tom, I cant seem to replicate this, an AE shape with offset paths and trim paths trims anti clockwise, as does an illustrator file i imported and converted to shape, so i guess im missing something. Are you able to share the troublesome Ai file? or ae file. Or some screenshots of settings and what not

my idea was to use the mograph camera shader (it uses the view of a cam as a texture), unfortunately when piped into displacer, it dont work, it moves all points up and down rather than respecting the greyscale image, i dont know why yet!

But maybe a start?! Sorry I cant help more.

yer a project file may be helpful. Or screenshots of your hierarchy. I cant replicate your issue.

The geometry, is the vertex count consistent? does the geo deform? I just wonder if the geo is causing the hairs to regrow every frame or something. In the hair object guides section, there is an auto Update toggle, try with that off? It may not have…

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dont change source, just set all the colours to red , then on copy layer, all to blue, youll then have two B/W layers. use levels to fiddle, then hopefully toull have a partial matte of the actor, and use other methods to move further

as there is so much spill on the space suit I dont think a simple 1 key will do it. Try using the set channel effect, basically make a copy of footage, set to red channel, copy again, set to blue, add together, precomp… you will then have a black and white image which you can use to matte the actor out. It wont be perfect but it will get you…

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A simple way might be to use the luminetri colour effect, there is a menu within it, where you can select by colour and it will create matte, you can then select show matte (making a the image greyscale) and use that to matte out an adjustment layer with levels effect on to effect the original footage at the bottom of the stack.

Or you can add a…

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if that didnt work, you could try using the interactive mapping set to cylindrical. Start by deleting UV tag, set from projection flat, then begin interactive mapping. Would be best to treat the ‘caps’ seperately though i think. I cant replicate your problem so this may be not what you need.

You might have to ask a question, and also give us some more information so we can help you

in key light, you can view ‘final’ or other options.. one of them is source matte. Look at this, it should be a greyscale image, mainly black and white, where your subjects are. If there is any grey this will introduce noise. Alter the black and white points in the settings, as well as other sliders, screen gain etc, to get a good a key as…

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the only way i can think is to make the 3D shape, a beizer path, and copy it, then make a 3D null and paste onto the position. This will give you the null going around the shape, but not where you want it. So then make another null and make that the first nulls parent. Use second null to rotate 90 degrees and move into place (difficult, maybe…

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To change the alpha interpretation in Prem, just right-click the clip in the project bin, go to modify, and select interpret footage. At the bottom of the window there will be some options to change

if a glow isnt working right in NLE, its usually the alpha setting i find, pre-mult and all that jazz. Try changing the way prem handles the clips alpha.

I think it will only recognise it as a seq if the numbers (001,002, etc) are at the end

maybe try, select the oval path (the actual path when unfurled), then paste that onto the position of each logo and offset, maybe use an expression too, such as loopOut().

Might get you some of the way

Hey man, I just wanted to say I am being pulled around on jobs at the mo and then on leave so ill be picking this testing back up in new year, I didnt want to disappear and seem ungrateful for you help. So again thank you hope you have good festives!

AK

Yer, i may try re install, and not copy settings. I generally dont update until i have to aswell.

I cant share this footage, but I will see if I can get some other footage and test/ upload.

The source is footage from Alexa 35, MXF-Prores 4444XQ

Thanks for your help Tom, I rely on this place as ive no one else to ask!

Hi Tom, thanks

No simply ingesting a clip from editor, then rendering it out from AE, send back to edit and it has changed the cols. So as you say itll be colour setting, but im not sure what, generally if we have a mis match between AE and NLE settings, (say, linear/ non linear) we can see a gamma shift but not a colour shift/ cast.

Its odd that…

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Hi,

I have been shown that my exports from AE have a slight magenta colour cast, the editors and graders are not happy with me!

Has any one any explanation for this? Im not sure when it started, the issue was brought up only recently (by editors on two different machines), but i havent had this problem, with this machine in the past (ive seen my…

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Hi,

I have some MXF footage (Prores 4444, with metadata), I would like to use this in PF Track.

The only format that PF can ingest that can carry metadata is Open EXR (i think, other that ArriRaw)

Ive tried retaining the meta when i convert but no dice. (AME, Sony RAW Viewer)

Is there a ‘correct’ way to do this? I have never tried to make use of the…

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Graham might be right. Theres a free ‘toolkit’ from Anti Static that contains proximity effectors..

25 FREE After Effects Tools – YouTube

if youre wanting all the layers to be set to frame 0, for example, you can select all and the whilst on frame 0 hit the left bracket…. [

is that what you mean?

what are the pixel dimentions of the images?

What bit rates do you set in ME?

Regarding setting AE ram to 58gb, i believe its best practice to leave 10gb+ for the system to use other wise it may slow everything down.

The ram usage shown in AE is dependant on whats in the comp I think so its possible it simply cant use any more, doesnt need to.

I no…

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Hi, I cant seem to replicate. What is the comp size? What is the source layer? What is source layer size natively? Is the layer continually rastarized?

Cheers

AK

But, if you just want the points rendered, you could use a cloner and clone geo onto each point. Or in octane use scatter, Redshift has a similar tool i think.

if youre talking about the blue behind the head logo, try turbulent noise, animating the evolution and offset, on a masked solid.

And a Turbulent displace over the ‘smoke’ and logo.

Yer, although I know there’s some kind of logic to scale in AE and imports and what not, I’ll never get my head around it. Report back if you manage to sort it. Fingers crossed it’s an easy fix now!

There is usually a reason for so called weirdness. I think moving with arrow keys won’t give you exact values (say if it’s 0.9 to start, you move it 1 unit, then move it back, it’ll move it to an interger, 1. , or some kind of rounding up anyway, but not 0.9) without a cam in scene it could be that the scales are odd, so you could be working in a…

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Is it possible that the layer is super close to the camera? So any movement is sticking it behind the cam? Change the view from active camera to custom view 1, and see where stuff is in 3D space.

If there’s not a cam in scene, maybe adding one (not close to layers) might help?

dont apologise! glad you sorted it, its good to see a solution for anyone who comes across this. It had me stumped ill admit!

AE can scale vector graphics, if the scale goes above 100%, use the ‘continuously rasterize’ switch, the little star next to shy guy. this will enable scaling above 100%.

Shape layers are vector layers so should scale up no issue.

maybe theres a script that could globally turn these switches on, i dont know though!

How are you scaling up each comp? I…

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