Bruce Wainer
Forum Replies Created
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Another (potentially unwelcome or impractical) solution would be to export the source with no speed changes from FCP (disabling the effects or making a duplicate project and deleting keyframes), do the track, then apply the speed changes to the track, so its matches in movement to the footage. I mean, track, then adjust the speed of the keyframes.
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I tried out my method…too many downsides to my plan. I stopped the white from glowing, but then his face turned blue! I’d try Michael’s idea – use the blue as a reverse blue screen (screen out the blue, then invert alpha or use as an inverted alpha track matte, like he said). I did a quick attempt using Color Key. The main features turned out ok, but the dark, thin lines on his shirt sleeve and helmet were too similar in color to the background. If I tried to key it in Color Key, the background would disappear, too. I’d suggest using something a little more complex, unless this is good enough for you: https://brwainer.110mb.com/tron_test.htm.
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understood. I had a feeling Windows was behind like always…
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its just a different way to get the same result. Either way will work, but if the problem was more complex (speed ramping, etc.) then the other way would be better.
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OK, thank you. What do you think about it though?
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I would make a duplicate of your video, apply levels or curves to where there is only blue showing (or use set channels to turn off the red and green channels). Next apply Tint to make it black and white. Adjust your levels or curves so blue becomes white and everything else become gray or black. Duplicate your original clip again, and set it to use the black and white layer as a luma matte. Apply glow to this layer and you should be done!
Let me know if this works. It may take some tweaking, but it should give OK results.
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a lot of laptop keyboards lack a numpad, but usually you can access the numpad keys by pressing Function (Fn) and the correct key. I know a lot of laptops, Mac and Windows, have 0 as Fn-M. However, I heard newer mac laptops lack this feature, so maybe your bluetooth keyboard lacks it too. You can try remapping the keys, this page says:
To modify keyboard shortcuts, use the KeyEd Up script from Jeff Almasol, which is available on the Adobe After Effects Exchange website.
Sebastien Perier provides instructions on his website for assigning keyboard shortcuts to scripts so that you can run a script with a single keystroke. This technique relies on the KeyEd Up script.
For information on remapping keyboard shortcuts for keyboard layouts other than the standard US English layout, see Jonas Hummelstrand’s website.
Note: On Mac OS, some keyboard commands for interacting with the operating system conflict with keyboard commands for interacting with After Effects. Select Use System Shortcut Keys in the General preferences to override the After Effects keyboard command in some cases in which there’s a conflict with the Mac OS keyboard command.EDIT: Joey beat me… check his video. I think it’s pretty good, but I had forgotten about it…
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sounds like 3D stroke to me, but you have to buy that…
Andrew Kramer had a tutorial on a similar effect using CC Particle World – its on https://www.videocopilot.net, tutorial #30.
How you’d make it a solid line out of this is beyond me, though. It’d take some work to make a line between two points, but if the particles never die (long particle life), then the biggest problem would be positioning the line between the nulls.
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I don’t know if this is right, but in the first comp you scale to 40% (for example). This is equivalent to multiplying the video by 40/100 (40 per cent). I believe if, in the final comp, you reverse the equation (100/40) the two should cancel out, giving you 100% (100/100, or 1:1) scale. I have not tested this to make sure, but the math seems to work in a calculator.
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if the sd file is 100% inside the grid comp, and the grid comp is 100% in the main comp, then the sd footage should be full size.