Chris Smith
Forum Replies Created
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I’m not saying it’s NOT 3D stroke, I think you don’t need it to do the effect. To me it looks like the ol’ fashioned light blur (see tutorial below) effect just put in 3D space.
Well nevermind for now, I can’t get the tutorials page to come up 🙁
Chris Smith
https://www.sugarfilmproduction.com -
Is it the Zoom ad? I don’t see 3D stroke in that. There are the sreaks, but I don’t think that has to be 3D stroke. Furthermore, being on a Trapcode site they only mentioned Particular being in it.
If it’s not the Zoom ad, do you have a link?
Chris Smith
https://www.sugarfilmproduction.com -
Nice work. My comments would be that it didn’t have overall direction. I would have certainly added camera shake to all the shots. They seemed very computer like especially the shot of the city hall. It was incredibly stiff. The camera fly into the cable car had a very linear change of speed.
I also thought the wall of ‘snow’ should have come before the actors ducked not after. It seemed reversed. When they ducked, I barely could tell why they were ducking. If the order was 1. Wall of storm 2. They turn and duck 3. Storm hits cable car I think it would be more dramatic personally.
nice teamwork though. Especially for the time given.
So was the storm pyrocluster then?
Chris Smith
https://www.sugarfilmproduction.com -
Maybe duplicate the layer. Set the duplicate to ADD transfer mode. Add a blur to it. Blur it a bit. Add a CC Light sweep filter and animate it to move up and down so that it creates the shimmer effect in the alpha. Then add a curves and tweak the highlits and shadows to slightly different hues. Maybe a light yellowish orange on the high end and a mauve thing on the low end.
Just thinking out loud.
Chris Smith
https://www.sugarfilmproduction.com -
Besides, you don’t need to learn the whole app. Just select the cylinder from the primitives options and map your graphic to it using cylindrical mapping.
Chris Smith
https://www.sugarfilmproduction.com -
Well, short of shooting it on 16mm itself, HDV definitely looks better than straight up DV. But for a project that important, I’d get FCP as it’s built to import and edit HDV in realtime.
Chris Smith
https://www.sugarfilmproduction.com -
Mattes can be created through keying, roto (animating the masks), or the luminance of any image using a luma track matte. Your manual will tell you how to use each one. For advice on the best techniques for hand drawn masks, search the cow archives for ‘roto’.
For general use of AE I highly recommend these two books before diving in:
“Creating motion graphics” and “After Effects in Production” by Trish and Chris Meyer. They are essential reads.
Chris Smith
https://www.sugarfilmproduction.com -
If I understand the question, you want the layers to always face the camera? If so then turn on ‘auto-orient to camera’ for the layers. But I don’t understand where the aspect ratio part of the question comes in.
Chris Smith
https://www.sugarfilmproduction.com -
Why not do it in a 3D app? That’s what they’re made for. If not, maybe map it in Invig inside AE.
Chris Smith
https://www.sugarfilmproduction.com -
AE can do projects at any resolution so you don’t need to downconvert. However you will need to use a codec that it will understand. FCP is made to work with HDV natively. Then when you want to use another app with the footage (like AE) it will export to the ‘Apple Intermediate codec’. in this state, other apps will be able to use it at full res.
Don’t know that Premeire supports HDV though.
Chris Smith
https://www.sugarfilmproduction.com