Andy Zou
Forum Replies Created
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Well, I ended up making a script for it that works pretty darn well. Unfortunately it targets very specifically the “Start” keyframe underneath the first range selector under the first animator under the first textlayer, but that’s particular to my needs.
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11 years later, can we get a bump? Thought I was dumb but where is that DOM?
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Yeah, it’s just intuition. The bright stuff will be above the darker stuff; it helps if the subject can move, then it becomes very apparent. It could also help to be able to mask the subject, or on-off the lights, or anything that makes clear what part of the waveform it is.
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There’s no real way besides yeah, eyeballing it.
False color, also, is a way of seeing exactly what levels every pixel is at.
Pros are also using light meters so they can actually know how much light is falling on every part of the frame. Before waveforms and digital readouts existed, the light meter would tell them their ratios and exposure. You want the face a stop brighter than the fill? Use the light meter. The hair light should be a stop brighter? Use the light meter. -
Personally, I’d whip/tie the wiggle function to a Slider, then keyframe the slider from 100 to 0 when you want it. That way you can also “fade” the wiggle using keyframes and avoiding expressions.
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Thanks Walter, that should work well for any future iterations! I remember reading about it but not knowing when I’d use it.
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Well, I was going to resign myself to just text, as that seemed most within reach, but the idea of being able to do the same effect with compositions would at least be something useful to know.
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1. All from scratch; the masking portion is actually pretty trivial, I got that figured out.
2/3. I copy pasted the keyframes from one move to a hold keyframe, then doubled that up, then doubled that until I got the entire timeline. Only trouble is if I wanted to adjust anything like text size, etc, I’d have to redo it all.Here’s a preview of the basic effect I want to be able to streamline. I did this manually and copy pasting frames:
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Won’t copy Pasting from clip to clip double them up?
I did not know that selecting all matching clips in sequence was possible.
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[Oliver Peters] “Maybe I’m missing what you are trying to do, but you would only have one take in the finished sequence. Why color correct all takes, when you only need one? Also, how do you know what the proper correction is until you see it in context with the others shots around it in the final edited sequence?”
Well, let’s say we have a simple dialogue sequence. CharacterA_Take1.MOV is a great take, and I mostly use it back and forth with the other takes. Now I have that file in multiple clips in the same sequence. The other takes I am intercutting it with are also fairly simple; let’s say I just have CharacterB_Take2.MOV and WideTake1.mov. If I am constantly intercutting these three takes, wouldn’t it make sense to only have to correct 3 master clips instead of each individual clip?
