[Barend Onneweer]

When you render to 8-bit files, this is one of the limitations you bump into. 8 bits only allows for a limited amount of colors, and on subtle gradients you run out of them.

Sometimes setting project space to 16-bit will help, even when rendering to 8-bit files – possibly some kind of subtle dithering scheme.

But the common alternative is adding a tiny amount of noise to the layer causing the banding.

Bar3nd

Raamw3rk – digital storytelling and visual effects

[Barend Onneweer]

It will run fine. Whether it’s fast enough depends on the complexity of projects and your perception of ‘fast’. Very subjective. But it should run fine.

Bar3nd

Raamw3rk – digital storytelling and visual effects

[Barend Onneweer]

Combination of compression and noise.

Try adding ‘Remove Grain’ to the clip before applying a keyer. Enable ‘temporal filtering’ and lower that value (I think I usually use 0.3 or so).

Renders dead slow, but gives smoother edges.

Barend

Raamw3rk – digital storytelling and visual effects

[Barend Onneweer]

[Derrick van Niekerk] “25P motion just still looks a bit “real life” compared to 24P’s more “Story” look if you understand what I’m saying?”

Uhm… you’re aware that all movies shot at 24 fps are sped up to 25fps for a PAL DVD?

So if you feel that the latest X-Men or Lord of the Rings looks “reality TV” and not “story” you’ve got a point.

Other than that, I’d leave it alone and shoot and post at 25p. I’m quite sure nobody will notice. The only reason you’d slow down to 24p is for a transfer to film, in which case I’d post at 25p and deliver to the transfer house like that – they do 25 to 24 all the time.

Bar3nd

Raamw3rk – digital storytelling and visual effects

[Barend Onneweer]

Actually, although very limited, you could use the tiff as a custom Shatter Map. A very crude way of adding depth to a 2D image, but if you’re not looking for anything fancy it might just do the trick. Anything beyond that, Zaxwerks Invigorator.

B.

Raamw3rk – digital storytelling and visual effects

[Barend Onneweer]

Interesting. Personally I don’t know anyone that would go back to 6.5 from 7.0…

As for Maya – I think its learning curve would be too steep for the bulk of AE users. C4D on the other hand.

Bar3nd

Raamw3rk – digital storytelling and visual effects

[Barend Onneweer]

I think you’re talking about “layer sets” in Photoshop – not folders on the harddrive. It would have helped to mention Photoshop in the description of your problem.

I don’t have a solution though.

Bar3nd

Raamw3rk – digital storytelling and visual effects

[Barend Onneweer]

I’d start with using the ‘Hue Saturation’ effect, selecting the greens and swinging it towards orange or red using the ‘hue’ control.

It may not have too much effect, but it’s usually the first thing I try.

Other than that, Keylight has decent edge color correction tools built-in (if you’re using keylight) that will allow you to add some red to the edges to compensate for green spill. It won’t do you any good on the chin though.

See if you can lift the reds a little on the foreground. It looks as if it could use it.

And a final tip: invest in some kind of light-wrap tool (I use Key Correct Pro which has one). It allows you to wrap some of the background color around the edges of the foreground, to make the composite more seamless. More important when you need realism, less for these kinds of graphics.

https://www.redgiantsoftware.com/keycorrect2.html

Bar3nd

Raamw3rk – digital storytelling and visual effects

[Barend Onneweer]

Hi Nicholas,

Because of AE’s architecture and render system it can’t do multipass compression…

Your best bet is to export uncompressed or lossless, and use something like Squeeze, Compressor or Procoder.

Barend

Raamw3rk – digital storytelling and visual effects

[Barend Onneweer]

If you mean by expressions, expressions aren’t currently able to sample a layers pixel values.

But if you just want to use the solid as an ‘optical filter’ to tint the layers below, you could play around with ‘blend modes’. Most notably ‘color’, or ‘multiply’.

There are other ways of accessing a solid’s color by applying a ‘fill’ effect and using the color of the fill effect to drive another expression.

But what is it you’re trying to achieve?

Bar3nd

Raamw3rk – digital storytelling and visual effects