[Chase]

I have the same problem, but using a Canon ZR25. It works fine on one system, but I have the same problem on two others. They all seem to have the same settings I think it has to be a codec problem or something. I just posted above, I’ll let you know if I get any feedback

[Chase]

It’s a piece of stock footage (film flash or film burn) put over the footage with the transfer mode set to overlay.

I have some from Eyewire I got years ago, but I think now they’re called Getty Images.

[Chase]

Thanks guys both ideas worked prefectly.

[Chase]

I went through them all the sample films and couldn’t find it. But I thought it was a preset thing as well. Or an expression of some sort.

[Chase]

Serge-

Wow, what a great product. I was able to animate the object, tweak the light position, personalize it with a company logo and have it done in no time at all. Everything looks great! Very simple, painfree and a happy client to boot.

Looking forward to the next round of items.

thanks!

[Chase]

I always set keyframes for postion and rotation for the starting keyframe and then the final resting keyframe. Then I pick portions in the middle and reset the camera to the angles / postions I want. Then it’s just lots of pre-renders and tweeks fom there.

One trick I learned is to render the same keyframe timings only change the cameras perspective or lens. Then render a quicktime. Do this a couple of times and cut the quicktimes together in Final Cut Pro (or whatever you use). This helps giving you new ideas for your motion and/ make something you haven’t imagined.

[Chase]

I always set keyframes for postion and rotation for the starting keyframe and then the final resting keyframe. Then I pick portions in the middle and reset the camera to the angles / postions I want. Then it’s just lots of pre-renders and tweeks fom there.

One trick I learned is to render the same keyframe timings only change the cameras perspective or lens. Then render a quicktime. Do this a couple of times and cut the quicktimes together in Final Cut Pro (or whatever you use). This helps giving you new ideas for your motion and/ make something you haven’t imagined.

[Chase]

That’s a great idea but the ball is almost impossible to see. It was shot by lots of trees with lots of light from behind them. We actually threw out the idea of using the live action due to too much camera movement.

I basically have a still picture of the golfer with the hole about 15 yards away and I’m animating the arrows over showing the path the ball took or should have taken. I guess the problem for me is how to animate the line and get a good depth of feel since the ball is being shot away from us. I tried masking a line, but it looks bad.

[Chase]

Thanks for the bump map. Looks like I will need to mess with it but it is already looking better.

[Chase]

Stack the 2 layers on top of each other. Then use the mask tool and select the left half of the footage on the top layer. Crank up the feather amount under the mask properties and that should do it.