Ben G unguren
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After Effects Coin
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COW Coins
Forum Replies Created
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You’d probably want some footage of a real zoetrope (or a good animation of one) as a reference. You can use time remapping to control the timing of the footage so you can “speed up” the zoetrope. I don’t know of any formulas for this, but I don’t think it would be too hard to engineer if you have a good reference…. Post one for us and we’ll help you think it through!
Ben Unguren
Motion Graphics & Editing
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I like video copilot’s stuff, but I recommend understanding rigging for a camera, and come up with something that works well for you….
Ben Unguren
Motion Graphics & Editing
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[Jeff Walsh] “Thanks for the link. Do I understand correctly then that Premiere can’t tell me the compression of a file only it’s package?”
Not at all. Just right-click on a clip in your project window or timeline and choose “Properties…” This gives you a window FILLED with information — with a lot of information you won’t get from QT or FCP….
Ben Unguren
Motion Graphics & Editing
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If there isn’t any footage, you can probably just get away with nesting your 29.97 comp in a 25fps comp. Heck, even if you have footage it might work.
The main problem with this approach is when you have precise masking going on (like for rotoscoping) — on certain frames AE will choose a value that is between two of your keyframes (since the frames from a 29.97 comp won’t line up precisely with a 25fps comp, likewise with keyframes), and that can cause troubles. But that’s certainly the easiest way to do it IMO: Nest, change frame rate, render. Check for errors.
Ben Unguren
Motion Graphics & Editing
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What you need to do is “cut out” the areas of the person that will be in front of the explosion. You make this cut-out part a separate layer, and put it on top of the explosion. So the layer order goes something like this:
1. Cut-out person (where they intersect with the explosion)
2. Explosion, cut out
3. Main footage (presumably with the person in it)This is the most basic setup. Other things you can add to sell the effect:
– a shadow cast by the person (and other objects in the scene) at the moment of the explosion
– camera shake
– additional lighting on nearby elements (and the person) illuminated by the explosionBen Unguren
Motion Graphics & Editing
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Yup — they worked that time. You’re looking to do a “film burn” look in After Effects. A quick google search produced a bunch of resources; here are the first couple video tutorial hits:
https://www.youtube.com/watch?v=wM7nKPPk9fo
https://www.youtube.com/watch?v=DT_0oi-P8owBen Unguren
Motion Graphics & Editing
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videos aren’t working for me…
Ben Unguren
Motion Graphics & Editing
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I like to use an adjustment layer with the Curves filter (or Hue/Saturation), but to set the adjustment layer’s blend mode to “Color” — this will cause the effects to alter only the color information (hue and saturation) and not the luminance information.
Ben Unguren
Motion Graphics & Editing
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The term “B-Spline” can be a little confusing in AE-world. I like to call then “NURBS” (Non-Rational B-Spline curves), since that’s where I first came across the stuff, in Maya-land.
AE doesn’t have anything like that; it uses Bezier curves for everything (hence the confusion, as Bezier also begins with a B).
Mocha does have something similar to B-Splines, but it calles them “X-Splines” (it also has Bezier curves). If you prefer NURBS for rotoscoping, then MochaAE is the way to go. (Note that MochaAE comes with AE.)
Personally, I prefer to use NURBS-style rotoscoping for less-precise work, and Bezier curves for super-detailed stuff.
Ben Unguren
Motion Graphics & Editing
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it sounds to me like your footage was shot with advanced 3:2 pulldown (2:3:3:2 pulldown, etc). Advanced 3:2 works in such a way that every fifth frame can be discarded — this fifth frame has two fields from different images in it, so it looks very different from the others. However, my guess is that AE has recognized that your footage has fields, and is removing one of the fields. Thus, in the AE timeline, you don’t see the interlaced fifth frame, and it looks like a duplicated frame. If this is the case, it is VERY important that any graphics that overlay your footage exhibit the same behavior. Here’s how I do it:
– Remove the pulldown. (Now your 29.97 footage is 23.976)
– Do all your animating for that clip at 23.976.
– Re-add pulldown at render time (you can do it in the Render Settings of the render queue)Of course, if your footage absolutely has do be 29.97, then you can use Timewarp or Twixtor to convert the 24 footage into 30, often with reasonable results. But having the stutter of a duplicated 5th frame along with the relative smoothness of non-duplication simply won’t work.
Ben Unguren
Motion Graphics & Editing
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