Chris Smith
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I did the same recently and adjusted the Y scale to 75 as well. Worked great for me.
Chris Smith
https://www.sugarfilmproduction.com -
The brightness setting whithin the lens flare filter is probably the closest you’ll get to a size that doesn’t effect the layer size.
So maybe keyframe or use an expression to associate the z depth with the brightness parameter.
Chris Smith
https://www.sugarfilmproduction.com -
The brightness setting whithin the lens flare filter is probably the closest you’ll get to a size that doesn’t effect the layer size.
So maybe keyframe or use an expression to associate the z depth with the brightness parameter.
Chris Smith
https://www.sugarfilmproduction.com -
I’m still a C4D noob, but I’ll give you my guess:
Sketch and toon works on geometry. It knows where the edges are based on the shape and knows how to shade based on the way light would hit the angles on that shape. It isn’t built AFAIK to do an effect to just a bitmap. That would be better done in a compositor.
However, you can create a cubic volume big and flat and emit particles from it. Then create a few closed splines in the shape of a few clouds dropped into a loft nurbs to create some shapes. Then randomly instance those to your particles. Then either keep those in your scene with sketch and toon tags, or set up a camera and take a picture of them to create a bit map.
Chris Smith
https://www.sugarfilmproduction.com -
I couldn’t agree more Angus. Commotion was brilliant on so many levels. It had tracking, painting, cloning, and roto that smoke what AE does today and Commotion is now very old by application standards. Hopefully the recent news of Adobe aquisitions will finally bring high quality paint/roto/track tools to AE.
Yeah, I do tracks in commotion. Use the “save to AE clipboard” function then paste in the keyframes into AE. works brilliantly.
Chris Smith
https://www.sugarfilmproduction.com -
I couldn’t agree more Angus. Commotion was brilliant on so many levels. It had tracking, painting, cloning, and roto that smoke what AE does today and Commotion is now very old by application standards. Hopefully the recent news of Adobe aquisitions will finally bring high quality paint/roto/track tools to AE.
Yeah, I do tracks in commotion. Use the “save to AE clipboard” function then paste in the keyframes into AE. works brilliantly.
Chris Smith
https://www.sugarfilmproduction.com -
I take it the streets are red from the orange street lights. Are you going for the timelapse intervelometer look?
My first comment is, why not leave it? I’ve seen lots of timelapse with so many interesting colos in it. The green flos from the buildings, deep blue skies, red streets, etc..
Well first try primary color correction and see if you can find a compromise. When that doesn’t work then break out the selective color correction. In AE use the change to color tool or better yet, use keyers and manipulate the matte yourself to isolate the blues and the red and tweak them to something closer to what you seek. However if the streets are red from the street lights, there probably isn’t much data in the Green or Blue channels so you’re probably looking at a hue shift more than trying to balance out the reds to the greens and blues.
I’ll say it again. Adobe please give us a good color corrector built in to AE!! Build in Color Finesse so it works intuitively and give us power windows and easy presets to store and compare corrections. Geesh. 🙂
Rant over.
Chris Smith
https://www.sugarfilmproduction.com -
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I’d try turning on some luminance channel to a whitish color. Then in the transparency channel make it 80 percent transparent but crank on the fresnel effect so the edges are brighter than the surfaces pointing at you.
AS far as the shape, play around with Nickl as part of the Jenna plugs. It makes organic shapes like that.
Chris Smith
https://www.sugarfilmproduction.com