Blaise Douros
Forum Replies Created
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Then I’d suggest the RX100 MK VI. It’s a little over $1K, shoots 4K at 8-bit, and is extremely compact–the perfect ultra-steath camera. No XLR audio, but that’s the price you pay for the compactness and the low price.
For $1K, you won’t get into a new DSLR or mirrorless camera, not when you take lenses and/or audio into account. Maybe something used. But the RX100 MK VI has a good reputation, and it is the very definition of stealthy.
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Requirements? HD or 4K? Is 8-bit footage okay? Or do you need 10-bit? Or RAW? What’s your budget?
These all would help to narrow down the many, many options out there.
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Oh! I think see the problem. The problem is likely the effect order: Glow is being rendered before Emboss, which means the Emboss is happening at the outside of the Glow edges, NOT around the text, like I assume you want.
Precompose the text with the Emboss effect inside the precomp, and apply Glow to the precomp in the main comp, and I bet you’ll be in business.
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This looks to me like your project bitrate is set to 8-bit, and the smooth blending doesn’t work well at that bitrate; try increasing the bitrate to 16-bit or 32-bit.
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Just cut to a wider shot, then. No need for a camera move or zoom, just as fast and impactful.
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I would never, ever try to do this in AE if I wanted a photo-real result. It’s just not practical. Shoot it for real or get a CG artist to do it for you in 3D.
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If you’re trying to make it photo-real, you can’t. I imagine a number of things like Trapcode Particular, CC Bubbles, or even CC Particle World could get you something at least cartoony. For photo-realism, though, you need a 3D program.
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You’ve mentioned having access to a stabilizer. It would be more impactful to do a pull-back reveal to show the room; because it makes the audience pay attention as pieces come into frame, and adds suspense as they try to see what’s in the room.
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But they ARE considered among the worst action scenes in Hollywood. Nobody likes shaky-cam action scenes–don’t try to emulate Paul Greengrass. Ugh.
You might see an occasional snap zoom in a scene trying to create a documentary-style feeling, cinema verité, that sort of thing. But you’ll find it’s very sparing, and has to fit in to an overall hand-held aesthetic. The Battlestar Galactica 2004 reboot series was shot this way, with the occasional short-distance snap zoom, and pulled it off because they shot the whole series in a handheld style–it was carefully crafted that way.
Trust us. There are more important things to learn. 99% of the time, you’re better off not using them. Focus on getting everything else right before you try to stylize your cinematography, because even Paul Greengrass isn’t doing it very well.
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These fine gentlemen are trying to tell you that zooms, especially snap zooms, are perceived as cheesy and amateurish. There’s no way to “adapt” that. It’s associated with westerns, 70’s action movies , and Hong Kong martial arts films–cheesy stuff.
If you’re making something that needs that cheesy feeling, then go wild. But if you want your film to feel serious, avoid it. You can’t make it look serious.