Blaise Douros
Forum Replies Created
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Yes, I understand, but given that this isn’t possible with any of the current particle generators, a multi-layer approach may be your best (and only) option. Especially if you’re building cloud particles that have partial transparency, I think it’ll look a lot more seamless than other approaches. If you’re worried about layer order, the solution is…more layers that you can bring in or out to compensate for the perspective changes! Heck, you could use three particle generator instances, and create precomps with collapsed transformations where the layer order is reversed, and that way limit the number of crossfades between layers.
It’s always nice to think of a one-stop, fully automated solution that would solve a problem. Unfortunately, as you know, a lot of creating VFX is making stupid workarounds, custom scripts, and special setups to get around program limitations that are particular (har!) to our situations. I think that’s probably the position you’re in at this stage!
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Is there a reason CC Particle World won’t work for your application? I did a really quick test with it: using a textured faded sphere as the particle type, and a cloudy turbulent noise pre-comp as the texture. If you duplicate two to three instances of it, each with a different random seed, you limit the number of overlaps between sprites on a given instance, and can pretty much eliminate pop-in that way, while still creating the illusion of a crowded cloud field. This works even with a fairly complex camera move–as long as you’re not flying too much directly into the producer, I saw very little pop-in.
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There is some very limited masking and tracking capability in PP2017, but I would be awfully leery of trying to get consistent results over a five minute video. Are there at least some cuts, so you aren’t trying to basically roto an entire five-minute clip? More power to you if you try. I wouldn’t try to “remap” colors, especially not if you can barely see the difference. I’d be tracking the eyes to see if I could place a simulated catchlight dot or something.
One thing that might help in the future when shooting subjects with this very narrow eye shape is if you can get your DP to place a low-intensity light very close to the axis of the camera, so that you can get some catchlight in the subject’s eyes.
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As a followup–ask yourself whether you’ve ever seen phone footage where this stuff is actually baked into the video. I don’t think I have. Why not just do a vertical crop on it?
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Is this question for real?
Make a Color Matte, and add a circular mask. Put it at the bottom of the frame. Record button.
Then add the Timecode effect to an Adjustment Layer. Move it wherever you want in the frame.
Jump into Photoshop, and create the viewfinder marks. Bring it into Premiere.
Or, if you only have Premiere, use the Legacy Title tool, and create the viewfinder shapes in that.
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Premiere can’t do it. There is absolutely no hope of this happening without going to After Effects.
I’ve used planar tracking in Mocha with After Effects to map still frames of open eyes onto someone’s face to eliminate a few frames of blinking. But doing this for more than a shot or two would be prohibitive. How much of this do you need to do?
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Could you solve this by using separately-layered instances of your particle generator, each with a different Z depth? Three layers, Close, Mid, and Far. Cut the total number of particles down by 1/3rd, and let the multiple layers create the overlap effect.
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Basically, the answer is no. Use After Effects, with a low framerate precomp and the Wiggle expression.
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Duplicate your plate, place it above the Saber effect layer for however many frames the hand covers the blade, and mask off the hand.
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Make a 59.94 timeline in Premiere, and drag all your 23.976 (!!!) media onto it. Once you’re done, export a 59.94 file. Premiere will take care of the rest using a combination of black magic and forbidden science.