Blaise Douros
Forum Replies Created
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Tim, the Shatter plugin has not changed significantly since it was introduced, so it’s all relevant regardless of the version of AE.
Did you ever try my first suggestion?
Why not upload screenshots of your shatter settings, or project files, or something. At this point, all we know is that we’ve given you a lot of advice, and we don’t know whether you’ve even tried any of it.
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If you’re getting the Sony A7 series cameras, then the FS7 (or FS7ii) is a total no-brainer as first camera. The dynamic range is killer. It’s a “real” camera, so should make Todd happy ☺ But it’s also significantly cheaper than the C300ii, and is actually often used as a B camera with the Alexa because the dynamic range is similar.
It shoots 4K natively, in an Slog2 or Slog3 gamma that can be replicated across all your A7 cameras for more consistent grading. The E-mount can easily take your Canon glass with a Metabones adapter (get a Speedbooster, it’s fantastic to have an extra stop on every lens you own). Two native XLR inputs, with the option to add a K2M or K1M for four XLR channels. In 1080p, the FS7 has overcrank up to 180 fps, which is AWESOME to have, let me tell you.
I have been shooting the FS7 for quite a while now, and it is a stellar camera. You will not be disappointed if you get one.
Todd has good points about easy lens compatibility with your existing glass, but IMHO, the FS7 is more capable all-around, costs less, and worth the very slight extra hassle of the Metabones. I hear a lot from C300 shooters about the ease of use and good out-of-the-box color, but if you plan to do much in the way of color grading, I think the FS7 might be a better choice.
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https://www.videocopilot.net/tutorials/magic_tracking/
Use this. It will allow you to adjust the image along the plane of the track, so you can tweak the position and size to match more accurately.
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Nope. There is no way to do this. You could import all the clips onto one timeline so they join seamlessly together when you start editing them, but there’s no way to automatically cut a second from one clip and sew it onto the end of another.
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The difference is that one of them is called Force 1, and the other one is called Force 2. There are two in case you need two wrecking balls to hit the wall at different times–not everyone needs as simple an application as you do for this project. For anything more complex than that, it’s all about using gradients as shatter maps.
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In the Shatter plugin, Position keyframes only affect X/Y position, while Depth is the Z direction. It dates back to before AE had real 2.5D capabilities 🙂
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Yes, you can. Just keyframe the Depth parameter of whichever Force you’re using. That controls the position of the Force that is breaking the wall.
This may help you: Add a 3D camera to your comp (but don’t change the shatter layer to 3D). Switch the effect’s Camera System to Comp Camera, and the View of the effect to Wireframe+Forces. In the dropdowns below your canvas, select 2 Views Horizontal, and set one pane to Active Camera and the other to Left. You should now be able to see both a front and side view of the Shatter effect in 3D space.
Now, as you move the Depth parameter, notice that the blimp-shaped object moves through the wall. The moment of impact will be determined by the time that the Force object hits the wall. Because the default setting of the effect is to have the Force object already partway through the wall, the default setting results in an instant shatter. But if you keyframe the Force’s virtual position, you can control when the shatter happens.
I spent so, so much time with Brian Maffit’s Total Training videos back in the day, I don’t even want to think about it. But it paid off–it’s still relevant!
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This is a Tall. Freaking. Order. Is there any way at all that you can get this in-camera?
Here’s the deal: not only do you need to matchmove the camera movement, which is fine with a fixed focal length and a 3D camera tracker, but you need to replicate, exactly, the zoom movement of the lens, which is rarely linear–you also need to account for the big changes in lens distortion in a zoom like this. You might get away with cheating it by pulling a motion track from your greenscreen with tracking markers, and pulling Position, Scale, and Rotation keyframes, and compositing in 2D space vs 3D. But that’s going to be complicated by the fact that you appear to have henchmen streaming in the doorway, blocking your tracking points. And with no motion control, you will not be able to shoot a clean plate for reference.
So here’s what you do; you go shoot some tests. Throw a greenscreen with tracking markers at the end of the hallway, and see if you can get clean tracks from it, whether using a 3D camera tracker or a 2D PSR track. You don’t want to bootstrap this one.
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Get with your VFX person, and ask them how they’d prefer it. If you don’t have a VFX person yet, get one, then go to step one. You need to consult with them beforehand, rather than just doing what you think ought to work and handing it off.
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If it’s a Technical LUT applied in the top of Lumetri Color, then you need to copy the LUT into Adobe Media Encoder’s LUT library, as well.
https://forums.adobe.com/thread/2178493