Brian Berneker
Forum Replies Created
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If there is any value to it, a last ditch attempt might be to track two sets of points similar to the way Kramer tracks the background in this set extension tutorial… even if you have to hand track a handful of frames for a bit.
https://library.creativecow.net/articles/kramer_andrew/Set_Extensions.php
Brian
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Use the original drawing a layer above, do some crazy levels on it and desaturate to make it black and white, and then use a luma matte.
Brian
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You can always manipulate the heck out of it on a duplicate layer using curves, levels, hue and saturation and any combination of madness that will separate those ever so subtle differences in the blue. Then just hide the layer and borrow the layer mask.
I used a similar trick in a shot of the following video to mask for behind the trees (in the close up shot as he goes to tie his laces). I used levels and desaturated a matte to use as a luma matte. Some parts of his face were still coming up with “holes” so I just tracked a rough shape layer over the remaining insides – since the edges were mostly ok, I didn’t have to be too precise.
Brian
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Yeah fieldskit looks like the best one I’ve seen (without trying them all). The sample I’ve seen looks spectacular (thinking of one with the barrel)
Brian
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I stand corrected… That would probably do it. It would be pretty darn close actually. There would be nearly nil perspective, which could be a problem, but if you rotate your subject, say at a 30 degree angle two axes, you would get some orthographic projection… Hmmm.. gonna have to try that one.. I wonder what the minimum AE camera angle is…and how far I’d have to move it away…
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No lens will give you single point perspective, because they are round and the number of points is determined by the shape you are looking at.
However, if you want to approximate it, have your perspective point directly in front of the camera. that way your other 5 perspective points (behind, top, bottom, left and right) will be far off camera. The more perpendicular you are to any one axis, the less visible it will be.If you turn the camera, say 45 degrees left, you will get more of a 2-point, and if you turn it 45 degrees up as well, then more like 3 point.
If you want isometric perspective, then it can’t be done with lenses and you have to “fake it” with a 2D comp, unless there is an AE setting I don’t know about.
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Yeah, if you set the frame rate to 24fps you will get the desired effect. Of course if you are in control of the render, then you can adjust the footage to any appropriate frame rate for whatever slowdown you need.
Something you might experiment with for editing purposes, is to render out a quick low-res file (say, 360×240) and drop it into your 24fps (or 29.97 what-have-you timeline) and position it for desired timing and speed, using time remapping. Then just calculate the math for the actual number of frames used and render the full res version to the correct number of frames.
A nice way to avoid having to convert between footage frame rates altogether is to render your CG as a sequence of TGA files. Then you can import the series of frames as footage, and it will automatically make it match the frame rate of your composition (provided you knew the correct number of frames to use).
Brian
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I would start with the camera in zoomed position first and then work from there, doing the zoom out after. I wouldn’t make small images in the matrix comp, I would keep them full size. I suppose it might take longer to render, but you will get full res.
The rest should just be a matter of moving your camera around.
Brian
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Try making a BW copy of the layer and use CC Glass…
Brian
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hehe anyone know where I can find a dentist with a nice pair of pliers?!?! 😉