Blaise Douros
Forum Replies Created
-
Send them an invoice for the appropriate footage licensing fee. If they don’t pay, take them to small claims court. Unless they had you sign an ironclad work-for-hire contract for the first video, every bit of copyright law in this country says that you own that footage.
-
No, that’s not possible. You’ll need to make changes manually. Just duplicate the sequence, and then copy-paste the new values from your spreadsheet into whatever title text you’ve built.
-
If the pins are moving in 3D space, then a 2D layer with a spherical mask placed in the appropriate location will occlude anything moving behind it in 3D space. Or do what Walter suggested.
-
Unless you have intermediate frames already drawn, you may be stuck with a snappy transition. You could fudge it by horizontally compressing the head a bit before it switches, creating the illusion that it’s turning towards the camera and foreshortening. But without actual intermediate drawings, you’ll just need to animate the movement of the head so that it telegraphs that it’s about to switch directions, in order to reduce the impact of the transition.
-
Are these pins rotating in 3D space, attached to the surface of the object with a null? Or are they moving in 2D, tracked onto the globe via the point tracker?
If they’re moving in 3D space, you could pretty easily create a solid circular object to occlude these pins, which would then be occluded in turn by the C4D rendered globe.
If they’re moving in 2D space, then you may be looking at simply keyframing the opacity.
-
Most DSLRs have very noisy preamps. You’ll be better off recording to an external recorder.
-
Yes. You need to give the box around it a certain amount of room–the tighter you place the box, the harder it will be for the software to track it. The inner box tells AE what you want to track, so make sure you get the full edges of the transition from the light point to black within the box. Then the outer box tells AE how far you might expect it to move within a given frame. So for small movements, you can make the outer box not too much larger than the inner. Lots of motion, expand the outer box. Then place the little crosshair where you want to attach whatever you’re placing on the tracked object.
-
Duplicate the footage and overlay it on top of itself. Apply a mild amount of blur to the upper layer, and change the blending mode to Screen. Adjust the opacity and brightness to taste. A guy taught me this in the 90’s, back when that bloom-y soft-focus look was popular in music videos and soaps; he called it the “Instant Sex Trick” because it makes everything look soft and glowy.
-
It depends on what you’re trying to accomplish. If you want things like fog or mist, then you can use things like Turbulent Noise to generate a layer of slow-moving fog, which you’d then composite in multiple layers. Particles tend to work well for things like sparks, ashes, that kind of thing. A small amount of particulate can help sell the depth of an effect, particularly if you have a moving camera.
Look into the 3D Camera Tracker, and do some experimentation. With a good camera solve, you could place things on the ground, or in the background, that move with the scene.
-
You don’t need to use Mocha for this. After Effects’ point tracker will do fine. Point track it, and apply the tracking data to a Photoshopped patch for that region.