Blaise Douros
Forum Replies Created
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Right now, you have two different paths for the “a” character. Basically, you only want After Effects to have one path present, but the
keyframes that you set will make the paths change. Keyframe 1 is the
original “a,” and keyframe 2 is the altered “a.”What you want to do is copy the path keyframe from your altered “a” into the path for the original “a,” so that it changes over time. Then you delete the extra one.
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Reshoot, or live with ’em. There is absolutely no good way to do this that doesn’t involve calling up a VFX house to photoscan his head and comp in new CGI eyes behind the glasses. Or a bunch of roto and 2D paint work.
If it’s one short shot, you might be able to do something in Mocha; you’d do a planar track of the whole area, and place clean patches of his eyes; then you’d need to roto his glasses frames over the clean patches. But if it’s more than one or two shots, forget about it, it ain’t worth it.
I have learned that when I’m shooting someone with glasses, I need to pay MAJOR attention to light placement, because of this exact issue.
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I mean, basically, you want the text to stay locked in place to a specific feature without rotating or moving in 3D at all, the way it would behave if it was actually located in 3D space, being affected by the camera. That’s cookie-cutter Point Tracker 2D tracking material. If the text was actually floating above the jacket in 3D space, it would be changing its perspective and orientation as the 3D camera moved around–that’s the ONLY reason to use the 3D Camera Tracker for what you’re describing.
I suppose you could go through the rigmarole of placing a Null in 3D space at the point you want it to attach, then making the text 2D, and applying a Layer Space Transform expression, but that’s a really convoluted way of doing what you can just do with the point tracker.
What it really sounds like is that you need to get a better point track–a point track is just as smooth, if not smoother in many cases, as a 3D camera track, as long as you get good data. It’s not always a case of set it and go–sometimes you need to clean up little jumps in the tracking data by deleting a bouncy frame or two, or choose a better tracking point, or track a different feature while placing the attachment point someplace else. Contrast and sharp points and edges are really helpful for the point tracker. And then don’t forget the little things–enabling Motion Blur at the tail end really sells the motion in subtle ways.
Try point tracking something like the “E” in Face, and setting the Attach Point near the lower right corner of the logo.
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There are a couple ways to solve this, and the easiest is to not use the 3D tracker–the Point Tracker is a much better tool for this. It’s hard to tell from just a frame grab, but if the motion warrants it, it’s sometimes a lot easier to track it in 2D for 2D graphic overlays.
The other thing you could do is set up the 2D graphics to Orient To Camera, which you do by right-clicking the layer, selecting Transform > Auto-Orient… and then selecting Orient Towards Camera. This will ensure that the object, though still floating in 3D space, will always face the camera.
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This won’t solve ALL your problems, but make sure that you’ve set the First Vertex for each shape keyframe so that the motion is advantageous: https://vimeo.com/187300527
Basically, this lets you say to AE “hey, when you morph between these two shapes, you should make THIS point on shape 1 move to THIS point on shape 2.”
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Any MD-to-E-Mount converter should work fine. You won’t have things like aperture control or autofocus, but there’s no reason to think it won’t work. I use adapted vintage lenses all the time on both Sony and Canon bodies, and I have rarely had any problems (and when I did, it was related to lens elements blocking the Canon’s mirror, which isn’t a problem on Sony).
I like Fotodiox and K&F Concept adapters; either will work great, and will set you back $20-25.
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You said the mic is plugged into input 2: On your XLR settings, on Channel 2, select input 2. All the configurations you posted above notably don’t include using input 2, where your mic is plugged in.
This assumes you’ve got something else, like a shotgun mic, in channel 1.You’re probably thinking of the channels as stereo pairs, with each
channel having L and R tracks, so you were trying to route input 2 to
the R track of Channel 1; this is not the case. The FS cameras don’t record audio channels in stereo pairs: Channel 1 is a mono track, Channel 2 is a mono track, etc., so you’ll need to route each mic to an individual audio channel. -
Five years later, this thread comes lurching out of the grave, heeding the call of this necromancer demanding its fealty. It groans its anguish at being called back to life, but its new master is unrelenting.
GoPros aren’t really any more professional in their control scheme today than they were five years ago, though the image quality has improved. They suck for professional work, and offer very little useful control. They are good enough for consumer use, and frustrate professionals to no end because they could be fantastically useful with a bit more attention from the development team.
If you want to do a long-term timelapse, I’d suggest doing it with a DSLR or mirrorless camera, preferably with a lens that allows focus to be locked off, and an intervalometer. But, since you’re willing to resort to the Book of the Thread Dead and risking the wrath of the Council of Wizards with your necromancy:
The main issue is power: if you can power the camera, then that’s 90% of the battle, since the batteries are tiny. A small housing that shields the USB port from moisture will be key–you’ll want it plugged into something. After that, it’s a matter of setting the shooting interval.
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What Ann said ^^
I think the confusion here is that you mentioned Opacity, which refers only to a layer’s transparency; it has nothing to do with the Time Remapping function other than it’s the next keyframeable property above it.
If you’re looking for a more global speed change, you can highlight multiple clips, right-click, and select Speed/Duration; it won’t keyframe it, but it will change as many clips as you want.
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If I were in your shoes (and thank god I’m not, this sounds like an enormous freakin’ drag) I would be jumping into AE and setting up a big render of all your relevant AE comps into Media Encoder and rendering them off overnight. If it’s overlay GFX, something with alpha, otherwise, just ProRes LT or something similarly good-enough but lightweight on the disk.
Make a copy of your timeline in its current state, and then replace the Dynamic Linked stuff in the new timeline with the renders. If Adobe gets back with a fix, then you can always use the previous version of the timeline to relink, but in the meantime, you’re going to have to work old school by rendering off comps from AE.