Blaise Douros
Forum Replies Created
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I’d use a shutter priority setting, so that your motion blur remains consistent. Then let the camera take care of the appropriate aperture and gain settings. Longer shutter times are good for timelapse, to get that nice pretty motion-trail look in the clouds and moving objects. I’ve shot some timelapse on my FS7 at 1 fps that worked pretty darn well. You’ll be limited to 1080p using the Z150’s Slow & Quick function, though.
Day-to-night timelapse is never super easy, and you may have to do some post-production deflickering of the footage.
My advice–shoot a test in similar conditions at home. Then you can correct any problems that arise
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You need to do a layer space transform expression. This takes the 3D position of the magnifying glass object, and applies it to the 2D effect.
src = thisComp.layer(‘Layer 1’);
src.toComp([0,0,0]);Source: https://gist.github.com/animoplex/01de80e8a9d8f8cd3e24b2b640967f4c
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As Andrew points out in the tutorial–you need to create an adjustment layer above your effect layers with the Polar Coordinates effect on the adjustment layer. Alternately, pre-compose your effect layers, and apply Polar Coordinates to the pre-comp.
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No, I’m referring to basically building a virtual box that matches the dimension of the street, from curb to curb, and doing a fluid simulation to create virtual water within that box. Using camera tracking, you would then match the camera movement and position so that the fluid simulation can be composited into your original footage. If you really wanted to be fancy, you’d track in a virtual floating box to match the position of the real box, to react with the water.
There’s may be a better way to do it, but I’m just thinking of the way that uses the most amount of practical footage, and the least amount of 3D modeling. I’m not really a C4D user myself, so I have no clue if the version that bundles with AE is even capable of fluid sim.
If I was trying to do a low-rent workaround that utilized only After Effects, I would find a flat flowing water texture, and 3D track it into the scene using the water footage as a flat plane tracked to match the street. It wouldn’t look as good as a fluid sim, but it would approximate it for a quick version. If it’s a fast shot, you might get away with something like that, and then use closeups where the water isn’t visible afterward.
Basically, this is not an easy problem to solve using AE alone.
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After Effects won’t be the perfect tool for this, because you will probably need 3D modeling to do this right.
If it were me, I would think about ways I could do this with minimal compositing. Put the box on a dolly, and shoot it with your person “floating” down the street. Then you could track the camera, and generate a fluid simulation based on the geometry of the street. Then you comp that in to your footage. After Effects can’t do that, though–you’ll need to go to a true 3D program.Most bigger productions would do this by shooting the person in a studio, against green screen, and then just create the environment in 3D. You probably don’t have that option, so I would try to minimize what you have to create digitally.
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Caveat: I’m not an animation specialist, certainly not character animation. But I do know this much–if you want the character to move somewhat realistically, you’ll want to rig using reference points that correspond to the location of the animal’s joints, so that it bends in the right place. Right now, your green circle for the hip joint is placed well below where the hip would really connect.
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This seems unlikely–she calls it out as h.264 MOV. That’s different than DV–DV and HDV was its own codec, based on mpeg2, if I remember right. The fact that’s it’s 4:2:0 is pretty much inherent in the h.264 codec.
I’m wondering if this is something that goes back to the Adobe/Dolby falling out over audio codecs. That would explain why Quicktime will play back the audio, and Premiere won’t. I can’t remember, did Adobe figure out a way to use the OS’s Dolby license to play back the codecs?
It might be worth trying to transcode a clip in Media Encoder, or an open-source encoder like Handbrake, to see if this results in a usable file.
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Almost any of the teleprompter setups out there should be able to take a feed. Check B&H, there are a ton.
These days, they sell you a monitor and some software, and the software just uses the monitor as a second screen for your computer. No reason you couldn’t fire up Zoom and drag it over to the prompter monitor. It might not show up as clearly as, say, white text on a black background, but it would probably work. Put a bluetooth earpiece in his ear, and he could even take questions.
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This may not be an option, but can you get your background set back any farther from your lights? What about some more diffusion on your lights before they hit the greenscreen? Even cheap-as-dirt shower curtain hung a few feet in front of your lights is better than nothing.
As Todd pointed out, the better and more evenly your background is lit, the less you have to feather and/or extend the key range, so you’ll get a better key. 4:2:0 is still definitely doable if the lighting is good–and you may be able to do that a lot more cheaply than buying a bunch of extra storage to handle bigger footage.
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Might have to do the old-school way:
Take a frame grab where the majority of the back of the headlight is most visible. Bring this into Photoshop, and clone out the spots to create a clean plate. Track that clean plate into the scene–the 3D Camera Tracker is probably the best tool. Then mask around the highlights at the outside of the headlight so that the parallax is preserved.
Or, go back to the location and reshoot, with a bunch of Windex ☺