Blaise Douros
Forum Replies Created
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I’ve never encountered this on the FS7, but we use exclusively Adobe Premiere. Sounds like a Resolve issue, if it’s not present on FCPX. Are you on the latest Resolve version? Or on the current Resolve beta? How about your camera firmware?
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Because you converted us all to using QNAP, Bob 🙂
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The best way to get this kind of work is to go drum it up yourself. Then you get to keep the full payday, instead of the company charging a premium over and above your services. That’s freelancing!
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Maybe, but I’d still bet he’ll get even better tracking results than I did by re-tracking the camera-original 4K file; I tracked the downscaled, compressed HD file from Vimeo.
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You’ll have some scaling problems if you try to replace the footage, since the point tracker is animating position, scale, and rotation. There might be a way to do it, but for my money, you’d do just as well to duplicate the setup–since you’ve got the AEP, you can see the two locations I placed the point tracker to get position/scale/rotation data. It’ll be a more detailed track anyway, because of the extra rez. You just let the tracker cook away (I had zero problems with it losing the track points, since it’s very minimal drift), and then in the tracking panel, apply the results to the same footage layer.
After that, you duplicate the stabilized layer, offset the time a bit, and start keyframing your car masks. It only took me ten minutes to do that quick test, so you’ll get good results if you spend some time on it.
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Looks like an adjustment layer with some kind of exposure effect applied, and a diagonal mask that reveals the adjustment layer as it’s animated across the canvas.
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Here, check out this AE comp I built with your Vimeo video file. It should give you a few ideas. The main comp scales up a pre-comp by 103% to hide the slight mismatch in edges. In the precomp, there are two layers: the lower layer is where I did tracking and stabilization, and the upper layer has three cars that I masked off to add into the lower scene.
12437_intersectioncomp.aep.zip
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Reduce the amount of stabilization to reduce these jello effects. It defaults to 50%, so dial it back to 15% and then go up from there. You’ll find that you get acceptable results with much less stabilization than you’d think.
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You just need to use the right tracking tool. Use the point tracker to stabilize position, rotation, and scale with multiple track points. That will allow you to really lock the frame down in a fixed position. Then you can roto in your cars from earlier/later in the take, without the problem of Warp Stabilizer’s uncontrollable movement.
BTW, a difference matte will NOT be effective. You will need to track each car, using the point tracker, and then attach some kind of mask to it, in order to reveal it.
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Use the good ol’ Shatter effect, with teeny tiny particles and a big canvas, to get more control over what particles go where. You can control what parts of the logo are shattering and and which direction they go by animating the Forces or creating a gradient-map for the shatter. Then you can pre-comp and time-reverse just like everyone described. I’ve done this exact effect (in reverse, making a logo blow away like ashes) for a title sequence at 54 seconds in this video: https://youtu.be/lmi6KKRUMMA?t=54
Hunting films pay the bills, so no hate, please.
This tutorial is EXTREMELY old, but it’s still entirely relevant to gradient-mapping the Shatter effect: https://www.youtube.com/watch?v=dDYv5UjbJbA
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