Chris Buttacoli
Forum Replies Created
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No… creating a white solid, adding it to the end of the clip and inserting a dissolve is much easier and faster IMO.
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This is how I did it:
Create a new 2sec comp. After creating a camera, and setting up the scene in 3d, I made a new null and ticked its 3d object box. Then I parented the camera to the null. This null will be for the basic blocking of the scene.
1. Adjust the null x,y,z position to frame-out the initial wide shot. At frame 0, set a starting position keyframe. Move ahead 15 frames and set the keyframe again. Next, move ahead 5 frames and adjust the position of the null to the first close-up angle. Move ahead 15 frames and set that same keyframe again. Now move ahead 5 frames and set the null position to the second close-up angle. Again, move ahead 15 frames and copy the keyframe. Finally, move ahead 5 frames and return to the original position by copying and pasting the first keyframe. (all keyframes should be linear as I wrote earlier)
2. Create the second null and make it 3d. Parent the first null to this one. This null will be for the drifting. Just like in step one, animate this nulls x,y,z position. Set an initial keyframe at frame 0. Move ahead 15 frames and adjust the z position for the slight camera-push-in. Make a keyframe. Now move ahead 5 frames and adjust some slight x axis drift to the left. Move this keyframe over 15 more frames, to where the first close-up ends. Jump ahead 5 frames, and apply some x axis drift to the right. Also move this keyframe over 15 frames, to where close-up two ends. Now just copy and paste the initial starting keyframe at the end. Turn motion blur on for your layers and you’re done.
That’s it. Seven keys in null 1, 4 keys in null 2. However…. if you start adjusting the keys, you may start seeing that boomerang effect. That is because your keyframes are not linear!!! See those two tutorials above. Select all keyframes, right click, choose interpolation, and make sure linear is selected for spacial and temporal.
Hopefully you can follow this – I wish I had a means of making a video-tut, it would probably be easier to follow. Any questions let me know.
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Use different zoom levels of sat-images, like from google-maps, and stitch them together. But for the love of [name your god here], I implore you, please don’t just copy the videoCopilot earth-zoom tutorial found here like everyone else does: https://www.videocopilot.net/tutorial/earth_zoom
Learn from that but make something original!!!! -
Setting the comp to 6sec won’t increase the layers duration. You need to stretch the layers out manually.
Having the comp at 24fps is what counts!
A null is an invisible layer that when you parent a camera to it, it is easier to control.
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Sometimes the keyframe interpolation remains in bezier mode, (which is basically for easing in and out) even when you switch back to linear keyframes. You can see it if you use the graph view. Anyway, select all the keyframes, right click and choose “keyframe interpolation”. Make sure the temporal and spacial fields are set to linear.
Here’s a good link(s) from Aharon Rabinowitz that explains:
pt1- https://library.creativecow.net/articles/rabinowitz_aharon/boomerang_1.php
pt2- https://library.creativecow.net/articles/rabinowitz_aharon/boomerang_2.php
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Chris(you),
Separate the 3d layers in z-space, make a new camera. Attach that to a 3d-null and make the basic zoom moves in the xyz position. Then make a new 3d null and attach the first null to it. Animate this nulls xy position to make the drifting moves. Sounds a bit complicated? It’s not really…
Here open up this AE project – I did it in CS3. (so if you have a later version it will not be an issue)
Is this the look you were going for?
-Chris(me)
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Hey, Ted – is that related to matte-chocker-full-of-nuts coffee?? 🙂
How about using the keyed footage as a track matte layer and just bluring that with fast blur. It will need to be pre-composed first, I believe.
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EXCEPT…. a pan has no perspective shift. A dolly or track shot that moves through space is what causes perspective parallax. And to track a shot like that, you would need a 3dTracker, like the one from the Foundry for AE. For a pan track, the AE tracker should work just fine.
Maybe you are using the “pan” lingo incorrectly??
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I think because you are using the track matte, you are circumventing the spill suppression built into Keylight. You’ll need to pre-compose those layers 1 & 2 and do a spill suppression separately.
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I know the recent versions of AE have changed the aspect ratio of DV and HDV 16:9 footage from 1.2 to 1.212. Could that be the issue? Check the file properties. You may need to render out using square pixels and interpret the footage in FCP to 1.2 AR.