Cassius Marques
Forum Replies Created
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Sure I can share the project.
https://we.tl/t-NBR37E2zd7 (Cinema 4d R19.)
A top level algorithm description would be (just so you can understand what was done):
Create a motext with your text, keep curves segments to a minimum to make it close to real time calculation.
Convert that to objects.
Input it to an Fracture and set to explode + connect.
Add dynamics tag to it and change it to individual elements.
Set the project’s gravity to 0.
Add and Attractor field (with inverted strength) to the dynamic tag’s forces. Set Follow position and rotation to a low value.Cassius Marques
http://www.zapfilmes.com -
In After Effects no. In Cinema 4d we can get there somewhat easily.
Would something like this suffice?
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Cassius Marques
http://www.zapfilmes.com -
Ok then… disregard what I said.
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Is your hand tracked to 3d? or you just have 2d position?
If its 3d you must use a particle generator, just increase the number of particles.
If its 2d, there is an effect called Write-on.
Cassius Marques
http://www.zapfilmes.com -
What are you using for the distortion?
[Matthew Boutros] “I realize I could have it in a pre-comp but this causes a whole bunch of other issues for me, as well as being extremely time intensive.”
This is not time intensive at all… you just pre-comp leaving attributes and cut/paste the effect inside.
The problem is that this default behavior, even though it is not optimal for your case, it should still be possible (effects should be able to react to composition/world space instead of layer space). So any workaround may be more trouble than the standard pre-comp workflow.
Can you describe what’s causing trouble when pre-comping so I can see things better?
Cassius Marques
http://www.zapfilmes.com -
I’m feeling that your problem is arising from the way you’re approaching your work. As I see you have an audio that you’re syncing photos to. You are doing the syncing AND doing the effects as you go. One would usually rely on cutting things up and spacing things around in premiere to have a better feel of what should be showing and when. Premiere is a lot faster and has the panels and responsiveness we expect to be able do that.
There are a million little things I could try to tell you that would help a bit, for example I use shortcuts that are linked to scripts that automate basic functions like switching two layers up (either in time, space or both). This avoids having to drag things up and down a lot. But you still need to do it eventually since you’re changing durations around.
If you are keeping to this workflow, just make sure you’re using the keyboard shortcuts available so you can avoid – most of – AE’s UI clumsiness.
Cassius Marques
http://www.zapfilmes.com -
Limiting the plugin’s camera view by Z space and duplicating/re-ordering as needed is the only doable way to achieve what you want. And it will never be perfect nor it can be fully automated because there will always be cases where clipping would occur, like those plates you have that are rotated to the XZ space.
Cassius Marques
http://www.zapfilmes.com -
Without actually seeing whats wrong it really is just a guess but I’d think it your stack would be something like:
comp with subject (so it always shows above everything)
comp with table used as matte for
comp with reflected subject
comp with tableThe thing is your comp with the table used as a matte for the reflection should really just be a flat color of the table’s reflective area, so you can use its alpha to mask the reflection. This compositions I’m advising you to use don’t necessarily need to be an exact copy of the layers you have. They just need to inherit their transformations so they match.
For example I usually tint things black and white and use as luma mattes to control my effects.
Cassius Marques
http://www.zapfilmes.com -
That can get complicated, I know.
If the mattes aren’t working you could try two things. Use masks or a better option that I constantly use: Mattes!
…The secret is to use them on split copies of uncollapsed 2d compositions. Meaning you would have a table composition only with the duplicates of your camera and table layers. This would be the matte for the reflection (which would in turn be a single composition of just the inverted 3d character with a copy of the cam and so on).
If you lack the knowledge that there is a copy with property links shortcut. Structuring the project in that way can seem very complicated. But once you get the feel of it. Its pretty robust and serves many purposes for compositing.
Cassius Marques
http://www.zapfilmes.com -
I would use a particle system to do that so I could easily change speed, number and overall motion. You’ll get some difficulty on the bounciness if you use anything other than stardust that has physics. Trapcode particular has bounce but its very basic.
If you want to keep the by hand route you’ll have to separate the X and Y so you can better control the motion curves.
Cassius Marques
http://www.zapfilmes.com