Arthur Vibert
Forum Replies Created
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You could do something very similar in Photoshop by exporting from After Effects (or whatever you use) as individual frames and then processing them through the “Cut Out” filter – set to approximate the look – and then reimporting all the processed frames into After Effects as a series. You could also experiment with some of the other filters for different looks.
As I recall it’s only the interviewee who is treated in this manner, necessitating some rotoscoping – unless your subject is shot against a green screen and non-treated background dropped in later.
Arthur VIbert
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Artbeats has some excellent stock shots that are pretty much what you are describing. You might want to check that out – then all the work will be done for you : )
Arthur VIbert
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I did a search in AE for “tracking off screen” and came up with something that might be helpful titled “multiple motion tracking points” that was posted Nov 1.
Might have the info you need.
Arthur Vibert
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You might consider dvMatte Pro from dvGarage. It works very well indeed, especially with dv. And it’s less expensive in the short term than an upgrade.
You didn’t mention if you are working in dv or another format. If you are working in dv, edges are always a challenge. One technique you might want to consider (and I can’t remember if all these effects are in 5.5 – if not, my apologies) is to first convert your clip to YUV using Channel Combiner (Effect>Channel>Channel Combiner. Then, apply Channel Blur (Effect>Blur>Channel Blur) and blur ONLY the Green and Blue channels slightly (3-5, definitely under 10!) now reapply Channel Combiner and convert your clip back to RGB. This has the effect of softening the color channels without affecting the luminance. Since compression artifacts in the color channels are what makes getting a good edge in dv the problem, this helps reduce that problem.
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I’ve used AE extensively on my Mac 1.25 ghz Powerbook. I’ve had very good luck with it, but render times are a lot longer if you get into 3D and lights and lots of plug ins. Still, I’ve done a lot with it and been happy. My laptop is a couple of years old now and I suspect the one you are eyeing will be a lot faster, so my guess is that you’ll be happy too.
Arthur Vibert
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Actually, if you make subclips you could have done it with inpoints, but it sounds like you solved it another way.
Which is why we love FCP.
Arthur VIbert
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Did you try using in points with the mi=ulti cam feature? It should work.
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How is the logo applied? Is it on a seperate layer over the live action material, like a station bug in the corner? If so, you might try nesting the non-logo material and then applying the logo over the nest.
Arthur VIbert
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You might consider syncing in points. I believe that is offered as an option. If you need to (and I haven’t tried this but it should be doable) you could split the longer piece into two clips that roughly coincide with the shorter clips and find inpoints that sync. As far as drop and non-drop you’ll have to experiment or perhaps someone else can offer some insight into this. You may experience some drift, but it shouldn’t be too hard to slip back into sync.
Let us know how it goes.
Arthur Vibert
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Books by Trish and Chris Meyer – Creating Motion Graphics with After Effects, Vol. 1: The Essentials, Creating Motion Graphics with After Effects, Vol. 2: Advanced Techniques, After Effects in Production, etc. All available on Amazon.
They should get you started.
Good luck,
Arthur Vibert