Chris Smith
Forum Replies Created
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A day or two ago, this was asked about going into the Nitris. You may want to check that. To go into my Nitris, I use Quiktime Animation codec which will support an alpha channel if needed. I don’t know much about an Adrenaline/MC, but in the DS capture window, you need to set it to “Graphics”/RGB levels so that it properly translates the video levels from RGB (AE and Animation codec) back into the Avid’s YUV world.
Chris Smith
https://www.sugarfilmproduction.com -
My god. I thought McDonald’s “I’m lovin’ It” tag was the worst use of “Shine” ever. It has been surpassed by the text/Shine in that trailer. As far as that light sheen in “Future”, you can check the archives. I wouldn’t search “Glow” though which is a different effect altogether. This is same effect used in every corporate logo and daytime TV ads. Light Sweep does it the easiest, but you can do it with animated/blurred masks as well.
Chris Smith
https://www.sugarfilmproduction.com -
If you look on the Left bar there is the UV move settings. They look like a checkerboard with a grid over it. WHen that is activated, use your normal move/rotate/scale tools to move the texture on the object.
Chris Smith
https://www.sugarfilmproduction.com -
I feel half that way. Mostly that AE still doesn’t have a modern color corrector, roto tools, or a tracker that’s not near garbage (All things Combustion has had for years). The OBJ import doesn’t bother me because that’s what I use a 3D program for, but I DO recognise that having basic 3D object functionality can be useful at times (Like when ILM filmed steel wool burning and mapped it onto a low poly copy of a space ship in Flame to comp over a 3D render to look like it’s burning). But I certainly wouldn’t go back to AE 6.5.
Chris Smith
https://www.sugarfilmproduction.com -
To further what Mylenium is saying, this is why I always use nulls for any changes for rotations I want to make. Parenting to nulls solves almost all problems and keeps all the layers of movement very clean and seperated from each other. Trying to get too much rotations and position changes on one single layer is too much complication me thinks.
Just out of curiosity, If you parented your layer to a null parented to a null. Would it not work to offset the first null (or second null) the 45 degrees in Z and the other in X?
Chris Smith
https://www.sugarfilmproduction.com -
To further what Mylenium is saying, this is why I always use nulls for any changes for rotations I want to make. Parenting to nulls solves almost all problems and keeps all the layers of movement very clean and seperated from each other. Trying to get too much rotations and position changes on one single layer is too much complication me thinks.
Just out of curiosity, If you parented your layer to a null parented to a null. Would it not work to offset the first null (or second null) the 45 degrees in Z and the other in X?
Chris Smith
https://www.sugarfilmproduction.com -
Adding to what Steve and Dave said, I would use a radial gradient as the input to a displacement map so that the image distorts on the edges of the lens and also use the “lens blur” in AE7 instead of the Gauss blur for a more optical look.
Chris Smith
https://www.sugarfilmproduction.com -
Also, try not bothering with an alpha at all and just apply it in FCP as a SCREEN transfer mode instead of ‘normal’.
Chris Smith
https://www.sugarfilmproduction.com -
try using the glow effect with only the X axis enabled and set the radius very high.
Chris Smith
https://www.sugarfilmproduction.com -
[Nicholastoth] “throw machine out 3 story window?”
You may want to check the archives in the “Solving technical issues through rapid deceleration” COW. I think the going number is a 10 story drop 🙂
Chris Smith
https://www.sugarfilmproduction.com