Brian Kim
Forum Replies Created
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the last step in this ayato tutorial should be exactly what you’re looking for
https://www.ayatoweb.com/ae_tips_e/ae25_e.html# -
Did you try checking off the “Match Legacy (etc. etc)” box under Project Settings?
My editor delivers DVCPRO HD footage to me, I do my thing in AE, check off that setting, and when I return it to his FCP timeline it seems to integrate fine. -
I’m not using a Kona 3 card, but I’ve been successful telling my editor to export out of his FCP timeline (quicktime movie using current settings, which are DVCPROHD 720p24), then:
I import those clips into After Effects.
Go to File–>Project Settings
Check the box that reads “Match Legacy After Effects Quicktime Gamma Adjustments”Then I do my thing in AE. Render out at DVCPROHD (but animation has worked just as well here for me, your choice) Give the clip to my editor.
I had the same “washed out” gamma shift (and people went from looking warm-toned to sunburnt), but since I checked off the Match Legacy settings the clips I give him are absolutely seamless.
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Fantastic advice, I’ll give it a go tomorrow and see how it pans out.
Thank you! -
Fantastic advice, I’ll give it a go tomorrow and see how it pans out.
Thank you! -
Jon beat me to it.
Try googling “Bob Sabiston” — he’s the head animator for Waking Life, and I’m pretty sure it was his own software that was used. Essentially they shoot the footage on digital video (cheap, easy format) and he rotoscopes over each frame. -
Hey Ted,
really inspiring work, thanks for sharing.
About a subtle feature behind/entwined in your iconic imagery, I’ve noticed this “sprouting-vines” aesthetic (for lack of a better term) gaining popularity lately, unfortunately I’m still a novice w/ the Adobe package and clawing away at the “work smarter, not harder” philosophy…but this time I’m beat. Short of having a ridiculous number of masks reveal these ornate, complex patterns in symmetrical fashion, what is the most efficient way to do this?
Thanks for any advice,
brian