[Brendon Murphy]

Sure! I think fractal noise will give you the desired look, but you can always change the “fractal type” within the effect for different looks. Animating the “evolution” setting can also give a slightly different look by making the pattern “crawl” more.

Brendon Murphy
________________
Creative/Post
http://www.brendonmurphy.net

[Brendon Murphy]

There are several ways to do this. Here’s one:

-Create a new black solid and drop a Fractal Noise effect on it. Add a curves and increase the contrast a bit (anchor the center, and then move brights up and darks down). Put this solid above your text layer.
-Select your text layer and change the track matte to Luma Matte.
-To have the text dissolve in, animate the curves on the solid so that it goes from completely black to completely white (or halfway to white, depending on how grungy you want the text to look).
-If you want the text to dissolve away, animate the curves on the solid so they go back to black

Have fun!

Brendon Murphy
________________
Creative/Post
http://www.brendonmurphy.net

[Brendon Murphy]

You might try splitting the leg into two pieces, upper and lower, with anchor points in the appropriate places (hip for upper leg, knee for lower leg). Make them 3d and parent lower leg to upper, and upper to the body. Then actually rotate the pieces of the leg in z-space. This will result in “real” perspective/scaling of the leg pieces as they move. If your material settings are enabled to react to a scene light, your shading will also happen automatically.

Hope that helps!

Brendon Murphy
________________
Creative/Post
http://www.brendonmurphy.net

[Brendon Murphy]

There may be shaders or plugins for that, but you can also do it by playing with your material settings. i.e., max out the ambient level and drop specular and diffuse all the way down. Experimentation is key!

Brendon Murphy
________________
Creative/Post
http://www.brendonmurphy.net

[Brendon Murphy]

There is no one-size-fits all answer to this, but you’re on the right track with AE and Ai. This is not so much a category of video as it is a design style that’s very “in” right now. You can lay out Ai frames and then build the animation around those, or you can also take a bunch of pieces you like and start testing different ways to combine them in AE. There is often a bit of Cinema 4d (or other 3d package) utilized for the more dimensional elements, and flash is also sometimes used. And perhaps even a bit of plexus in your example.

I’ve seen some interesting resources at https://mattrunks.com/en that may help.

Best,

Brendon Murphy
________________
Creative/Post
http://www.brendonmurphy.net

[Brendon Murphy]

This is indeed possible. You must solo the keyed layer(s) and choose an export codec that supports transparency, such as PNG, Animation, or ProRes 444 (hopefully you are using the Render Cue). And then be sure to choose “RGB+alpha” in the “Channels” dropdown in your Output Module Settings. I tend to use PNG since it is a lossless codec with a much smaller file size. However, it really depends on the project and quality of source footage. PNG doesn’t support 10 bit color, for instance, but may be perfect for a DSLR project.

Definitely look into optimizing your RAM settings. Unless the comp is fairly complex, I don’t see why a key would slow you down too too much.

best,

Brendon Murphy
________________
Creative/Post
http://www.brendonmurphy.net

[Brendon Murphy]

Great Keylight tip – thanks!

[Brendon Murphy]

After many tests and exploring all the possibilities, we decided that the best thing is to relog all of our footage using the flex files. Then we’ll reverse telecine, etc, and rebuild our edit.

We’ll drop our original 29.97 edit into 23.98 timeline, then assemble our correctly logged 23.98 versions above them. The last step will be fixing the +/- 1 frame gaps.

[Brendon Murphy]

Cool – I already know the frame rate conversion part works, I was more worried about the Cinema Tools stuff that I haven’t done before.

Let me ask you this – if I simply make the database out of my final cut clips, does that mean I must enter key code data for every clip, not just each lab roll? Because each camera roll starts a new key code count, right?

If I need to enter key code for every clip, I might as well do the conversion to 23.98 first, then make the database and enter the key code info in CT. In my earlier mentioned workflow, I was trying to salvage the keycode data already stored in my flex files to save time. Do you think I should abandon that idea?