Ben G unguren
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To clarify Stephan’s [correct] advice: You want to “render” not “export” your animation….
Ben Unguren
Motion Graphics & Editing
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The other primary way to do this, other than using masks, is to use a “track matte” — more specifically, an “alpha matte.” Here’s how you do it:
LAYER 1: a large number 4 (make it in photoshop, illustrator, or with AE’s text tool)
LAYER 2: your video
If you press the F4 key you’ll toggle between showing a bunch of check boxes with each layer, and a couple of drop boxes with each layer. The drop box to the right is for Track Mattes. For the VIDEO layer (layer 2), click the Track Matte drop box and choose the “Alpha Matte” option.
Immediately, LAYER 1 is hidden (eyeball turned off), and LAYER 2 is “cut out” to match wherever LAYER 1 had been visible. Adjust the position of LAYER 1 and you’ll see it updates where LAYER 2 is visible. Scale, rotate, reposition LAYER 2 and you’ll see it moving within the shape of the 4.
Ben Unguren
Motion Graphics & Editing
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I think this is a question to ask in the AE Expressions forum, as I think you’ll need a bit of code to make it happen. That said, I have a non-expression solution, but it’s pretty clumsy:
Make a small solid, say, 50×50 pixels, and place it on the 3D points that you want to convert to 2D. Precomp your 3D camera and solids, then you can do a standard 2D motion track on each of your points. The tracks should be rock solid, as you’re generating the stuff that’s being tracked yourself.
But, as I said, an expression is what you’ll want for this….
Ben Unguren
Motion Graphics & Editing
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That’s a cool effect, isn’t it? You’d start with a single image, make multiple copies and apply a square mask to each one, isolating different parts of the image. Then you layer those on top of each other — you could use a drop shadow with each, directing the shadow to move in an upward direction…. Better yet, you’d set things up in 3D space with lights casting the shadows and also helping to create those nice gradients on the images (you could also do those gradients by hand in photoshop, or using masks, the Ramp filter, etc). Finally, you animate the layers left to right.
They also have some movement happening inside the images; if you wanted that you’d precomp the image and do some animating inside it….
This is one of a half-dozen ways you could accomplish the animation. But the essence is that you’re breaking an image into pieces, animating those pieces, and casting shadows.
Ben Unguren
Motion Graphics & Editing
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I’d go with setting up a comp that is 1920×1080 pixels, with a Square (1.0) pixel aspect ratio. When you drag in your 1440×1080 footage, press command+opt+f (ctrl+alt+f) to make it fit to the composition.
In my opinion, it’s a good rule of thumb to work in square pixels — things are less likely to get messed up….
Ben Unguren
Motion Graphics & Editing
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As for noise, the film grain filter will produce better results. You can also use the “Noise HLS” filter (which renders faster), adjusting the hue, saturation, and lightness noise separately — choose the “Grain” type of noise, which will allow you to increase the grain size if you want to. Finally, you need the noise to change from frame to frame; I use a simple expression for the Noise Phase attribute: random(0,2700)
As for the other stuff, it’s pretty hard to give much advice without seeing what your images look like. Basic color correction filters are common, like Levels, Color Balance, Hue/Saturation, etc….
Ben Unguren
Motion Graphics & Editing
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Yes. And you want to make sure that your layer in the nested comp has 3D enabled, as Darby already mentioned
Ben Unguren
Motion Graphics & Editing
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Yea, a matte choker will mess things up. Here’s a common layer order that I use:
1. Keyed footage (Keylight) with display set to “Corrected Source” (without any alpha, in other words). I check the “Preserve Transparency” box (between the mode drop-downs and the trackmatte dropdowns)
2. ADJUSTMENT LAYER: Matte chokers, other matte tools, etc, as needed
3, 4, 5, 6 as needed: Keylight keys, masked exactly the same (except for mask blend modes). As long as the blend mode is Alpha Add, you can tweak the mask’s shape, feather, and expansion — as long as the masks are the same for all the layers. (I like to use expressions for this, having one of the layers be the “Master Mask” and the others referencing it.)
BOTTOM: Nothing. The background must be empty, so that the Preserve Transparency layer and the Chokers on the adjustment layer will work….
Ben Unguren
Motion Graphics & Editing
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I like to think of a nested comp with collapsed transformations as a “portal” into the other comp. As though all the layers in the comp were being contained in that layer. When collapsed transformations is disabled, it’s more like a snapshot of the comp, but you can’t go into it…..
For instance, if you made something funky with 3D layers (like a 3D box) and nested it in a new composition, then made a 3D camera spin around it, you’d have a flat image of a 3D box spinning around. But turn on collapse transformations and you have… a 3D box. The layer is acting as a portal into the other comp….
Ben Unguren
Motion Graphics & Editing
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Not sure I understand the problem exactly, but if your masks are on more than one layer then you can set those layer’s blend modes to “Alpha Add” and precomp your masked stuff. I do this all the time when keying, and I use expressions to link all the masks on each layer — all I change is the mask blend mode (this one adds, this one subtracts, etc)
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.