Ben G unguren
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After Effects Coin
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COW Coins
Forum Replies Created
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What you’re experiencing is called “banding.” Essentially it is caused by mathematical messiness when when you have slight gradients spanning a large area. Here are two ways I have corrected the problem:
1. Add a grain effect to your mask, which scatters the values and effectively hides the banding
2. Change your project from 8-bit to 16- or even 32-bit. Do this by option(or alt) clicking on the “8bpc” at the bottom of your project window. By increasing the bit depth, you are allowing AE to use more decimal places (more or less) causing the math to be more precise, thus reducing the banding errors.
Ben Unguren
Motion Graphics & Editing
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Assuming you’re using keylight… Keylight automatically attempts to correct “spill” from the blue or green screen in the background (some of the light tends to show up on your subject, especially along oblique edges). This tends to add some warmth to the keyed image. In Keylight’s settings, change the view from “Final Result” to “Intermediate Result” to see the image without the color correction.
The standard workflow as I’ve seen it is to let Keylight do it’s thing, then use color correction tools (curves, color balance, levels, hue/saturation — whatever works best for you) to balance the final keyed shot to the background plate. Some compositors prefer to use the intermediate result and use other effects to remove the spill.
Ben Unguren
Motion Graphics & Editing
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Assuming you’re working in NTSC: render your animation at 60fps, then reimport it into AE, drop it in it’s own comp, change the frame rate to 30 and render with fields.
For PAL you’d render at 50, then fields at 25.
(Or with drop frame NTSC it’s 59.98, then 29.97, etc)That’s a weird error, by the way. Never heard of it before. But, then again, never tried it before, so….
Ben Unguren
Motion Graphics & Editing
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After two months of using Premiere alongside FCP I have added dozens of custom hotkeys, but in general have tried to keep Premiere’s default hotkeys where they are. After about a month, the Premiere hotkeys started to hold their own logic, and when I am cutting in FCP I sometimes find myself preferring the Premiere hotkeys. I’m glad I stuck with the Premiere hotkeys — kept me from pining for the FCP way of doing things….
Ben Unguren
Motion Graphics & Editing
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AE has presets for things like PAL anamorphic. If you already have a 16:9 video, you should set up the comp using AE presets, drop in your video, then press command+opt+F (ctrl+alt+F on PC) to fit your video to the screen.
Pal is 720×576. In theory you’d create a 16:9 animation at 1024×576 then squish that horizontally to fit the 1024 into the 720. You will be squishing vertically as well as horizontally, but that shouldn’t matter unless you have fields in your video, but I don’t think you will with a 1280×720 video.
The only other possible problem is if your video is running at 24fps, as PAL runs at 25fps. Two options here:
1. Interpret your footage (command+opt+G / ctrl+alt+G) and set the fps to 25fps. Make sure this doesn’t mess up any of your audio, though. Also you should note that this will make your video a little bit shorter….
2. Just drop your 24 into the 25. Every 24th frame will fill two frames. Depending on the nature of your video, this may or may not disrupt the flow of things.Ben Unguren
Motion Graphics & Editing
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[Ray Lee] “I don’t think I can shell out that kind of money for something I won’t be using that much.”
The Voodoo tracker is available for non-commercial projects: https://www.digilab.uni-hannover.de/download.html
Ben Unguren
Motion Graphics & Editing
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It depends on how things are set up. If your 3 colors are coming from 3 colored solids then you can change the color of one solid (in the solid settings — cmd+shift+Y / ctrl+shift+Y) and make sure that it is affecting ALL instances of the solid (note the checkbox at the bottom of your solid settings).
If you’re using another method for the color, like the Fill effect, then you could link them all to three master controllers using expressions…. That would take a little while to set up, but once it’s set up you can make lots of changes quickly.
Ben Unguren
Motion Graphics & Editing
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If you wanted you could scale up your layer, match up your paths, and then you’d have a thicker stroke. Of course it will be a bit blurry as it gets scaled up….
You could also try using the paintbrush (make sure you’ve set things so the stroke “draws itself in”). You’d have to use the paintbrush as a matte for the graphic lines being drawn in…
Ben Unguren
Motion Graphics & Editing
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I agree with Brian — you need a 3D tracker. There are a number of good ones out there. The Foundry’s tracker integrates directly with AE, which is a nice bonus.
A somewhat limited but effective (and relatively inexpensive) piece of software is pixelfarm’s “pf hoe” (https://www.pfhoe.com). Pixelfarm also makes a much more robust tracker, pf track. I have used Syntheyes (https://ssontech.com/) with excellent results on some complex scenes.
The basic process if you’re using one of these other pieces of software is to (1) track the footage (find elements in the scene, track them for the duration of the shot), (2) “solve” the shot, which creates an animated 3D camera and a cloud of static 3D points that match/overlay the movement of the 2D trackers, (3) place markers, bits of geometry, etc, so you can know where the “floor” “walls” and other elements in your scene are located, and finally (4) export the 3D camera and null objects to AE, frequently as a .jsx script.
Ben Unguren
Motion Graphics & Editing
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I just experienced a problem this morning that might be related. I do most of my keying in AE, but I needed some temp keys and used Ultra. When using the eyedropper I did get colors, but the color over which my eyedropper was hovering was NOT the color that appeared in the color window. It was as though the eye dropper was picking up colors nearby, but I couldn’t figure out the pattern.
My best guess was that this was related to the fact that (1) some of the images I was keying had already been scaled in the project window, and/or (2) the Program window wasn’t at 100% size, but using “Fit”. But even showing my footage at full-size and the window at 100% doesn’t seem to fix the issue (I’m using 4K red footage, btw, PPro CS5, OS X). Since these are temp keys anyway it hasn’t been too much of a concern — I’ve been eyeballing it with reasonable success. But +1 to your inquiry. Feels like a bug to me, but I’d like to hear of anyone else’s experience before reporting it….
Ben Unguren
Motion Graphics & Editing
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