[Barend Onneweer]

It’s a solid, cross-platform alternative to Prores.

Raamw3rk – independent colourist and visual effects artist

[Barend Onneweer]

For tracking the markers in the corner make sense. But if (like in the example you gave) the lighting on the paper is going to change each frame, the painting out of the markers may not be a trivial undertaking. If it were me, I’d probably shoot this without markers.

Barend

Raamw3rk – independent colourist and visual effects artist

[Barend Onneweer]

There’s a lot of different ways to do this. One of them would be a displacement map set to displace only vertically. If you create a displacement map with vertical lines (the same width you want the fragments to be) of various grey values, you can use the displacement map effect to break up your text layer.

Overlay a vertical line grid of single pixel lines to create the separation.

That’s the basic idea.

Here’s a quick way to create the displacement map.

Create a new comp that’s the same size as your main comp and call it ‘displacement map’.

Create a new solid that’s 50% grey.

Add Effects>Noise & Grain>Noise.
– amount of noise 100%
– monochrome noise
Scale this layer only on the Y-axis to the maximum value (1000000).

You should be seeing vertical lines of 1pixel wide, in variable grey values.

Now place this comp in the same comp as your text layer (turn off visibility) and apply Effect>Distort>Displacement Map. Select the displacement map as your displacement map layer, set horizontal displacement to 0, and play around with vertical displacement to taste.

To create wider columns (instead of the single pixel lines) the easiest way is to scale the noise layer on the x-axis also. If you scale it to 200% you’ll get 2px wide columns. To avoid the columns from being ‘soft’ set layer quality to ‘draft’.

A quick way to create the vertical black lines is Effects>Generate>Grid. Set size to ‘from width and height’ and set width to match your columns (for 5px wide columns: set noise layer x-scale to 500% and grid lines to 5 pixels horizontal. Set grid height to a value larger than your comp height and adjust anchor to move the horizontal line out of the frame.

That should do it.

Best,

Barend

Raamw3rk – independent colourist and visual effects artist

[Barend Onneweer]

Actually, in AE CC you can switch the comp to raytraced render engine and bend layers in 3D without the need for other plugins.

https://tv.adobe.com/watch/learn-after-effects-cc/introduction-to-3d-bending-layers

Raamw3rk – independent colourist and visual effects artist

[Barend Onneweer]

Hi Tim,

Sorry for the hijack – but I just bought an LTO-6 drive. I now understand that LTFS may not be the way to go so I am investigating backup utilities. What’s the status on a Windows edition of Bru PE?

Best,

Barend Onneweer

Raamw3rk – independent colourist and visual effects artist

[Barend Onneweer]

If the DCP is not encrypted you can use EasyDCP Player + (not free) to export a Quicktime or sequence. Most DCP facilities should also be able to provide you with this service.

If the stream was encrypted you’ll need the master key but it’s still possible.

Barend

Raamw3rk – independent colourist and visual effects artist

[Barend Onneweer]

Hi, this is the expected behaviour. Your footage plays back at the original framerate, regardless of the composition framerate.

The most straightforward way to play back frame-for-frame is to re-interpret your material as 25fps.

Rightclick the source footage in the project window and click ‘Interpret Footage’, then set framerate to 25fps.

The same result can be achieved by selecting the layer in the comp and go to the menu Layer > Time Stretch and set to 200%.

Barend

Raamw3rk – independent colourist and visual effects artist

[Barend Onneweer]

And set Keylight to ‘intermediate results’ instead of ‘final’. This bypasses the spill removal in Keylight that’s known to amplify colour noise.

You’ll then need remove the green spill using a Hue/Saturation filter or other spill killer.

On the other end of things, it doesn’t hurt to remove noise before keying. Look into Neat Video, works wonders on reducing noise and compression artefacts which will dramatically improve the matte.

Barend

Raamw3rk – independent colourist and visual effects artist

[Barend Onneweer]

You can do this with scripts or expressions, but couldn’t you just create a colour background in Photoshop and place it in all the comps, and when you need to change the colour: just adjust the .psd file?

Or am I mistunderstanding what you’re trying to do?

Barend

Raamw3rk – independent colourist and visual effects artist

[Barend Onneweer]

Good point… but since the drives typically won’t even max out the 3G bandwidth I’m not sure the added bandwidth of 6G would translate to actual performance increase…

Don’t mind spending the money – but for now would like to squeeze a bit more out of the current system. When I replace the RAID card and backplanes I’ll probably end up getting an entirely new system.

Barend

Raamw3rk – independent colourist and visual effects artist