Ben G unguren
1
After Effects Coin
3
COW Coins
Forum Replies Created
-
I am not familiar with your particular camera, but many medium-to-high-end cameras allow you to choose the rate you film at AND the rate you encode at. In most cases you’ll want these to be the same, but it’s possible to have them be different. You’d have to check if this is a possibility on your camera.
Ben Unguren
Motion Graphics & Editing
http://www.mostlydocumentary.comSome contents or functionalities here are not available due to your cookie preferences!This happens because the functionality/content marked as “Vimeo framework” uses cookies that you choosed to keep disabled. In order to view this content or use this functionality, please enable cookies: click here to open your cookie preferences.
-
I suggest right-clicking on your footage, choosing “Modify–>Interpret Footage…” and fiddling around with the frame rate. Tell it to run at 23.976, or 29.97, and see how it plays back.
Ben Unguren
Motion Graphics & Editing
http://www.mostlydocumentary.comSome contents or functionalities here are not available due to your cookie preferences!This happens because the functionality/content marked as “Vimeo framework” uses cookies that you choosed to keep disabled. In order to view this content or use this functionality, please enable cookies: click here to open your cookie preferences.
-
You’re probably shooting at 30. I imagine AE can get this wrong, but it isn’t likely. If you want to check, interpret the footage (right click, interpret footage–>main…) as 24 and then ram preview it. If it’s slow motion, then you shot at 30.
You could also try opening the clip in other apps, like MPEG Streamclip or VLC and see how those report the fps for the footage. (Kind of like going to another doctor for a second opinion.)
Ben Unguren
Motion Graphics & Editing
http://www.mostlydocumentary.comSome contents or functionalities here are not available due to your cookie preferences!This happens because the functionality/content marked as “Vimeo framework” uses cookies that you choosed to keep disabled. In order to view this content or use this functionality, please enable cookies: click here to open your cookie preferences.
-
There’s a Glow filter that does exactly what the sample image you posted is doing. Glow is based on a threshold, which means it takes the brightest parts and creates that glowy, halo look.
The most basic process is good ol’ blur and blend modes. If you were to isolate the glowing part of the character (by keying, if you wish, or rotoscoping, motion tracking, or a combination of these), you could make that a separate layer above the base layer. Then apply a blur to the isolated footage and change the blend mode from Normal to Screen or Add. Adjust the opacity as needed. If you want it brighter, consider duplicating the layer and increasing the blur. There are a lot of options here, and if you’re careful you can get a nice organic-looking glow.
Ben Unguren
Motion Graphics & Editing
http://www.mostlydocumentary.comSome contents or functionalities here are not available due to your cookie preferences!This happens because the functionality/content marked as “Vimeo framework” uses cookies that you choosed to keep disabled. In order to view this content or use this functionality, please enable cookies: click here to open your cookie preferences.
-
When you have such strong, contrasty, saturated colors running into each other, you should expect the jaggies that you’re seeing with ANY 4:2:2 codec (or 4:1:1, or 4:2:0, etc). That’s because of the 2’s in ProRes422. While the luminance values are at full resolution, the color info (hue and saturation) is cut in half. Normally you wouldn’t notice this, except when a crisp line depends almost entirely on the color info to make sense — which is exactly what yours is doing.
The Animation codec is an RGB codec, and all RGB codecs are full resolution (you can’t cut the green channel in half and expect it to look right).
For editing you could use a 4:4:4 codec and you should get the same results you’re seeing with Animation.
Ben Unguren
Motion Graphics & Editing
http://www.mostlydocumentary.comSome contents or functionalities here are not available due to your cookie preferences!This happens because the functionality/content marked as “Vimeo framework” uses cookies that you choosed to keep disabled. In order to view this content or use this functionality, please enable cookies: click here to open your cookie preferences.
-
No problem. FWIW, I have custom hotkeys set to select tracks: command+1 selects V1, command+2 is V2, etc. Likewise, opt+1 for A1, opt+2 for A2, etc. When I need to do a lot of jumping around the timeline, these hotkeys are quite useful, and a lot faster than mousing.
Ben Unguren
Motion Graphics & Editing
http://www.mostlydocumentary.comSome contents or functionalities here are not available due to your cookie preferences!This happens because the functionality/content marked as “Vimeo framework” uses cookies that you choosed to keep disabled. In order to view this content or use this functionality, please enable cookies: click here to open your cookie preferences.
-
My first guess was gamma as well. Without screenshots it’s difficult to tell. Heck, even with screenshots it can be difficult….
AE only works in RGB, so your YUV footage must be converted to do any work in AE. This is a major drawback to PPro–>AE–>PPro color correction, in my opinion, especially if you’re working 4:2:2 instead of 4:4:4 (which most of us are).
Ben Unguren
Motion Graphics & Editing
http://www.mostlydocumentary.comSome contents or functionalities here are not available due to your cookie preferences!This happens because the functionality/content marked as “Vimeo framework” uses cookies that you choosed to keep disabled. In order to view this content or use this functionality, please enable cookies: click here to open your cookie preferences.
-
Do a search around the web for “descreening,” which is what I’ve heard it called most commonly. There is a lot of advice out there, and I won’t bother rehashing it all here:
Ben Unguren
Motion Graphics & Editing
http://www.mostlydocumentary.comSome contents or functionalities here are not available due to your cookie preferences!This happens because the functionality/content marked as “Vimeo framework” uses cookies that you choosed to keep disabled. In order to view this content or use this functionality, please enable cookies: click here to open your cookie preferences.
-
Here’s the complicated way:
1. Stand your talent on a turntable in front of a greenscreen. Turn them while they’re kissing (or whatever you’re having them do). You could shoot it 360 degrees, but that takes a lot more greenscreen, which will cost a lot more than a turntable. (A motorized turntable might be ideal, as it will allow a consistent spin.)
Since you don’t see their feet, and they aren’t in physical contact with anything in the room, matching the movement shouldn’t be too difficult as long as you’re close. Time how long it takes to do each quarter turn, and match the background plates:
2. Set up a tripod and do a slow pan around the first space. (Okay, this is a bit of a trick — really you should set up a circular dolly track and move it in a circle, but unless you need the parallax of foreground elements you can probably get away with a tripod.
3. Same thing with the second space.
What’s better is to rent a motion-control / motorized tripod head so you can pan the camera at the exact same speed in each place. With this approach, you could shoot each space multiple times, removing different parts of the scene, so your backgrounds could fade in piece by piece (first the empty room, then the chair, then the mirror, etc). Also, you could pan your camera at a much slower speed and then time remap it to approximate the movement of your spinning actors.
When you do the final composite, consider animating the levels / color of your talent as they change spaces. If you’re feeling really creative, then fade up different lighting as you shoot the greenscreen footage (maybe add a fill light, or a really bright rim light). Any of these methods will help to sell the effect.
Ben Unguren
Motion Graphics & Editing
http://www.mostlydocumentary.comSome contents or functionalities here are not available due to your cookie preferences!This happens because the functionality/content marked as “Vimeo framework” uses cookies that you choosed to keep disabled. In order to view this content or use this functionality, please enable cookies: click here to open your cookie preferences.
-
You probably have deactivated the tracks where the other clips are. Only the active (hilighted on the left side) tracks will respond to next-edit hotkeys. This also applies to things like inserting cuts at an edit (command+K).
Ben Unguren
Motion Graphics & Editing
http://www.mostlydocumentary.comSome contents or functionalities here are not available due to your cookie preferences!This happens because the functionality/content marked as “Vimeo framework” uses cookies that you choosed to keep disabled. In order to view this content or use this functionality, please enable cookies: click here to open your cookie preferences.