[Cameron Harrison]

Hey Josh,

It’s been awhile, but if I remember correctly, I think I had to make an expression so that whenever the camera rotated, the floor would also rotate. I couldn’t do a simple parent, because then any other movement would also have been transferred to the floor.

I’ve never been great with expressions, and always have to look examples up when I’m doing them, so I can’t be of any help with the exact formula, but I think that’s the technique I used.

Good luck!

[Cameron Harrison]

I’m having a very similar issue, but the solution here doesn’t seem to apply to me. As far as I can tell I have only one artboard in my ai file.

I bring that file into AE, make the shape layer, and it vanishes, leaving only the wire frame. This only happens in Ray-traced 3D though (I’m trying to extrude the image). When I turn it back to classic 3D, the image appears! Or if the image is in 2D in Ray-traced it works fine.

I have another ai image that works just fine in Ray-traced. So I even tried pasting the image which isn’t working onto that artboard, and saving that file. But it still won’t work! What am I doing wrong?

[Cameron Harrison]

So I ended up moving to AE6, and that seems to have worked for the most part. Using an environment layer for the sky, and a solid w/ Motion Tile applied for the floor. I’ve linked the camera’s rotation to the floor, so it never shows the corners when I turn, and so far everything seems like how I want it.

Except that the horizon on the floor is a hard line. I’d love for it to fade into the background. Any not-totally-complex way to do that?

[Cameron Harrison]

Did you ever figure this out? I’m facing the same conundrum.

[Cameron Harrison]

Thanks guys! I’ll give Sky Dome a try, certainly a better price, and seems more suited to the simple effect I’m going for than Horizon.

Also, I’m just in AE5, so don’t have any of 6’s tools.

[Cameron Harrison]

Thanks for all the replies folks!

Just to give the story an ending, my director finally laid some music under it and found the resulting mix to be acceptable for the use of the video. So it seemed to work out, but I’ll be sure to take the advice of making sure the mic is closer to the speaker going forward.

[Cameron Harrison]

Thanks for the input guys!

I should have mentioned that the “acceptable” interview was done in a much larger room than the other two. The mic position may have been different, too, but I’m guessing the difference in quality is mostly due to the room.

I had the mic above, pointing down at them, but was probably a bit far away (about 2 feet). I’m used to short film shooting, where you usually give a little more head room (and a boom operator is holding it anyway). So I’ll be sure to mic a little closer in the future. Would still like to avoid a re-shoot, though, so I’ll attempt using the notch filter, thanks.

I’d still be curious on a pro-sound persons opinion whether it’s over-reacting to want to re-shoot, or if the audio is distracting enough to warrant it.

[Cameron Harrison]

Yeah, I’m just judging by what I see in the canvas. If I switch between the same shot in a sequence set for anamorphic and one set for letterbox, the one for anamorphic is a little clearer. I suppose that should be my first question: is if that’s just a FCP thing and it will all export the same?