Chris Smith
Forum Replies Created
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Merry X-mas:
https://sugarfilmproduction.com/NissanEnd.mov
Download it. Don’t try to play it in your browser. It’s D1 specs Animation codec Quicktime.
Chris Smith
https://www.sugarfilmproduction.com -
Looking at it, they modeled that in 3D and created a reflection map and a moving light source that your seeing reflected in the emblem. Then in composite stage they added a specular glow around the brighter elements (ie the moving light sorce) and they match moved a blue lens flare with an anamorphic streak over the light sorce (reflected in the emblem) then faded out the lens flare halfway through.
Chris Smith
https://www.sugarfilmproduction.com -
I just sat down and tried my thoughts and I gotta say it looks pretty close. Use “Set Channels” effect on each layer and leave one channel on and turn the other 2 off. So in the end each duplicate is Red or Green or Blue. Screen the first 2 layers over the layer below it. Add optics compensation to the top 2 layers. Set it to ‘reverse’ then a value of about 20 on one layer and 30ish on another layer. Then the middlw of the image stays true while as it goes towards the edges, the channels shift away from each other.
Chris Smith
https://www.sugarfilmproduction.com -
If I remember correctly, he mentioned how to do this in the tut using the “roving keyframes” function in AE. Check your manual for details.
Chris Smith
https://www.sugarfilmproduction.com -
If I remember correctly, he mentioned how to do this in the tut using the “roving keyframes” function in AE. Check your manual for details.
Chris Smith
https://www.sugarfilmproduction.com -
Off the top of my head without using external plugs, Duplicate your layer till you have 3 copies. Use the channel effects to isolate just the R, G, and B on each layer respectively. Then on each layer add the “Optics compensation” plug and set each layer to slightly different settings. Then use the screen overlay on the top 2 layers.
Don’t know if it works, but thinking out loud.
Chris Smith
https://www.sugarfilmproduction.com -
You’re SOL in my opinion. Everything about those shots is different. The contrast, the highlits, exposure. You would need massive amounts of work and it would still look way off. Your best bet is to darken your daytime stuff, but you still have a white sky all over the place. You can try luma keying the white sky and using garbage masks to isolate the key area to the sky, but luma keys have rough edges and it will end up looking like a nuclear looking mess.
From looking at the footage, I would think reshoot it. It doesn’t appear you had a crew or lighting involved. If it’s just a DV cam, Available light, a crash helmet and bike, a re-shoot would clearly be the best looking and most affordable (in terms of time) option.
Chris Smith
https://www.sugarfilmproduction.com -
Yeah except I used Maya for 4 years and stumbled around CA not getting very far and CDs Tools were done in a logical way that helped me learn it in a couple of days. So although the mechanics of it are Maya (like Joints instead of Bones) I credit Dan for the workflow that I think is unique to him and which Mocca3 seems to have copied nearly identically.
Chris Smith
https://www.sugarfilmproduction.com -
The constraints alone in Mocca3 are awesome. Admit it or not, Mocca3 is now a beautifully done rip off of Cactus Dan’s tools. I gotta say, I love it. They did a really nice job. Even the reset PSR icon is almost the same as Dan’s.
Chris Smith
https://www.sugarfilmproduction.com -
Shoot a still of a white card. Use a sponge and India Ink to create the lines across the white card. Do this a handfull of times. Cycle these frames. Crush the levels in a bit and invert the image so it’s white lines across black. Then use this footage as a track matte on other video, or use transfer modes like “overlay” over other video.
Chris Smith
https://www.sugarfilmproduction.com