Bill Oneil
Forum Replies Created
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I updated my Matrox millennium video card and CS2 seems to be redrawing faster now. Apparently, this sluggish performance is pretty common when the video card is not configured properly with updated drivers.
Bill O’Neil
http://www.chicagospots.com -
The shadows near the feet of the actors were difficult to remove so I left some of them with a soft mask to get rid of the turntable. It’s also easy to put a pool of shadow underneath the actors with a separate layer underneath that has a soft-edge mask that can be animated if need be.
Bill O’Neil
http://www.chicagospots.com -
Thanks for the kind words, Roger. To de-interlace your footage simply select “lower field first” in the interpret footage panel (or “upper” depending on how your NLE acquired the footage).
The shadows were indeed cheated although some of the figures had a decent shadow left over after the key. You could easily create the shadows in AE 3D with a light (and a floor layer) but it would have to be lit from the front so as not to reveal the flat figures.
Bill O’Neil
http://www.chicagospots.com -
I’ve done my share of zit removal but it’s not easy if your subject is jumping around. Vector Paint is made for this sort of thing. Just grab a color of the face next to the zit and size your brush with some feathering. Then just blot the zits frame by frame. It actually goes quickly once when you get started. Hopefully the shot isn’t too long.
Bill O’Neil
http://www.chicagospots.com -
The Point of Interest can be your best friend if you know how to use it. In AE, you have to think of camera motion in terms of both camera position AND point of interest. With these two parameters alone you can get accurate camera moves without ever having to mess with rotational key frames.
The frustration comes in not knowing how to constrain the point of interest when moving the camera. Holding down the Ctrl key (windows) will lock the point of interest in place while you move your camera. It becomes second nature after a while.
I promised Kathlyn a tutorial on 3D camera motion if I can ever get out of the weeds. Stay tuned.
Bill O
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The Point of Interest can be your best friend if you know how to use it. In AE, you have to think of camera motion in terms of both camera position AND point of interest. With these two parameters alone you can get accurate camera moves without ever having to mess with rotational key frames.
The frustration comes in not knowing how to constrain the point of interest when moving the camera. Holding down the Ctrl key (windows) will lock the point of interest in place while you move your camera. It becomes second nature after a while.
I promised Kathlyn a tutorial on 3D camera motion if I can ever get out of the weeds. Stay tuned.
Bill O
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I copied this from an earlier post regarding the same issue:
The best way to stop or slow down the Shatter is to increase the viscosity. Set a key-frame for viscosity (thickness of the air) at the point you want the shatter pieces to freeze. Now move up around 5 frames and increase the viscosity to 3 or so (the default is .40). You have essentially made the atmosphere like maple syrup so the speed of the pieces will slow down dramatically. Now make your camera move. Tell shatter to use a comp camera and then parent the camera to a 3D null and key-frame the Y rotation.
If you want your shatter to continue after the camera rotates to its new position, you’ll need to re-activate it with Force 2. Just key-frame the radius from 0 to whatever it takes to blast out the pieces again. Set the strength to 10 or so.
Bill O’Neil
http://www.chicagospots.com