Chris Smith
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Don’t know the tut, however make sure you are copying from a selected parameter so the keyframes are copied to the clipboard buffer. Then in the write on effect make sure you select a parameter first then paste the keyframes.
Chris Smith
https://www.sugarfilmproduction.com -
Generally there seem to be 2 methods:
1. If you want your ribbon to grow along a curve: Create a spline that is the complete path the ribbon should take. Then create a square spline and set it very thin. Now drop these two into a sweep nurbs object. Set the parameters to what looks good to you (rounding, the square spline’s dimensions, etc…) then you’ll see a grow parameter in the sweep nurbs. Animate this from 0 – 100% and the ribbon will grow along the curve. Of couse you can play with the twist parameter as well.
2. If you want one complete ribbon that simply travels along a curve: There are a few plug-ins out there that allow you to deform an object along a spline. Travelling across a spline is obviously just a tag but you need to use a plug-in to make it deform along the spline. Why it’s a plug-in and not a built in feature is beyond me though.
Then there are probably more complicated ways using forces, dynamics, cloth, and such, but I’d try the simple way and replicate forces first before diving into simulations.
Chris Smith
https://www.sugarfilmproduction.com -
Sweet. The forum seemed different since no one was getting auto emailed unless they checked it each time. Maybe I’m halucinating.
Chris Smith
https://www.sugarfilmproduction.com -
I highly suggest doing the BG in Max projected on the inside of a sphere. But if you HAVE to do it in AE, I heard there is a free plug in called MaxtoAE or something of the sort. I’m not familiar with Max, but I saw someone give the advice to use that exporter plug-in. It will allow you to give camera data to AE.
If nothing else, see if Max can export a Maya .ma file and import that into AE.
Chris Smith
https://www.sugarfilmproduction.com -
Technically Curves and hue/sat using good hardware at high bit depth can get you a lot of options when just doing primary color correction. But it’s amazingly unintuitive and not technically precise.
For now you are looking at Color Finesse used inside of AE. Although it lacks presets, power windows, layers, and a real time output to monitor without a workaround.
I personally use Shake for CC. You can build custom CC nodes and the color stays as error free as possible since certain functions concatenate.
I dream that Adobe will realize that ppl use AE with VIDEO and not still photos and build a decent color correcter into the app. One that is DaVinci inspired like the Avid|DS or Combustion (to a certain extent).
Chris Smith
https://www.sugarfilmproduction.com -
Hey Asaf, you never gave me an email addy to send you the shake nodes.
Chris Smith
https://www.sugarfilmproduction.com -
Yes. Basically you need to generate a matte. The matte defines what is used in an image and what is seen through the image.
There are many ways to generate a matte. The most obvious and common are:
1. If the subject is in front of a keyable background. This can be any color that is distinctly different enough from the subject that can be exploited to isolate the intended part of the image. The most common being a greenscreen or blue screen.
2. “Rotoscoping”. Which is another word for using articulated and interpolated masks to isolate the image by hand but computer assisted. Roto is used only when using color keys, luma keys, or isolating areas with levels is out of the question.
However, any good matte is almost always generated with a combination of these tricks. Also with multiple keyers for different parts of the image.
Chris Smith
https://www.sugarfilmproduction.com -
Mybe try to compress the QT more aggressively. I waited a long time and it was only the first two examples.
Chris Smith
https://www.sugarfilmproduction.com -
load the audio into pro tools or FCP and center pan it then save as stereo.
Chris Smith
https://www.sugarfilmproduction.com