Cassius Marques
Forum Replies Created
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Thats probably a default light kicking in C4D and the fact that your material may have a strong specular value from the front. There is a combination of factors you could try:
Change the material options. (only luminance channel checked will give you no light/shadow at all if you just want the 3d)
Create more lights either in C4d or AE.
Rotate the box some degrees and compensate, so that light won’t hit it straight from the front.
Make the geometry slightly curved so the light shows as a highlight and not a full front lit.Cassius Marques
http://www.zapfilmes.com -
It really seems like a 3d intersection problem or memory cache.
If you create an adjustment layer right under the car layer (to break the 3d stack order), does it solve the problem?
Cassius Marques
http://www.zapfilmes.com -
[Jeff Hinkle] “So right now I have three Talent precomps, all identical, each with the same talent images in the same position: Talent 1, Talent 2, Talent 3.”
If they are identical, why do you have three?
Anyway, I think I got what you want, not yet sure…
The problem is that you can’t change the layers inside a composition from somewhere outside of it, but you could control the time it displays. So if you displace the talents in time inside a single talent precomp. You could play that same composition with different time spans.
Cassius Marques
http://www.zapfilmes.com -
I’ve understood everything up to the third paragraph. I really can’t understand the problem in the way you’re describing it.
[Jeff Hinkle] “I’d like to drive all three screens from the single Talent precomp instead of the three identical ones I have now.”
I don’t understand what you meant by that. I got that you had three similar but unique comps(each with an instance of the talent comp inside them) transitioning somehow in a master comp. So what exactly do you mean by the talent comp driving something?
Cassius Marques
http://www.zapfilmes.com -
how about you apply the transform effect and use just that?
Cassius Marques
http://www.zapfilmes.com -
I laughed hard here too! And I really don’t know what I found funnier. The fact that he was able to find the exact application that would do that and yet was wondering how to do the most basic function with it or Walter teaching expressions to a guy that can’t keyframe position.
I don’t tend to shame people’s questions here, but this one was gold! Where is Dave LaRonde when we need him?
Cassius Marques
http://www.zapfilmes.com -
my suggestion (noise with mosaic, with contrast crushed) works EXACTLY like a bar code.
Cassius Marques
http://www.zapfilmes.com -
[Nikolay Arkhipov] ” I could have achieved this effect by creating lot’s of masks or other shapes, but it’s not possible in my situation, firstly, because it’s too messy, and secondly, I need to control the number of these transparent sections.”
You’re being ambiguous. Either you want control so you’d have a bunch of masks or layers working as masks that you can change in a defined, organized way or you don’t control anything! You can’t have anything automatic and maintain some sort of control over the overall look.
If you want to cut randomly you can create a noise with a high contrast and add the mosaic effect. This will give you random vertical bars that can act as luma mattes. You could quickly and neatly change the look, but you don’t get much control over it.
Cassius Marques
http://www.zapfilmes.com -
If you only have white and orange, why not make everything black and white and add an adjustment layer with a tint effect above everything?
You can just change the tint to switch colors.
Cassius Marques
http://www.zapfilmes.com