Chris Smith
Forum Replies Created
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I’m sure it doesn’t need to be pointed out that it doesn’t matter what they used. It is their vision and design skills that created that work. Give them ANY of the common 3D packages available and the work would be identical. It’s like looking at a beautifully designed house and wanting to find out which bandsaw and hammer they used to build it. It’s still going to be built to the design that they created in the first place.
Chris Smith
https://www.sugarfilmproduction.com -
The paint splatter is ….drum roll……Paint splatter 🙂 Search the archives here for splatter, ink, etc and you’ll see it’s been discussed quite a bit. If you think about it, you can use particle systems that would take hundreds of man hours and render time to get right or you can set up some white card in the sun and throw black paint on it. Take this footage into AE, invert it and use it as a track matte.
Chris Smith
https://www.sugarfilmproduction.com -
Movies are shot in Super 35mm film and at least in the last few years are colored in the DI process (digital intermediate). This pipeline will not be remotely matched by a home camera no matter how many effects are applied. If that was possible, then a lot of people would be saving hundreds of thousands to millions of dollars.
Not sure what you mean by “static”. Maybe you have bad electronics that make your camera noisy? Film cameras don’t have static, they have film grain. But with modern stocks and a little over exposure, that grain is pretty minimal.
Chris Smith
https://www.sugarfilmproduction.com -
Although it’s possible to take data from AE to C4D using some extremely technical workarounds, the common pipeline is to go from 3D to 2D. All the great work you see out there in the world works this way. Besides using the cameras in C4D are a hundred times easier to use than AE’s cameras. So much so that I’ve actually animated my camera in C4D simply to load into AE for an AE only project.
So I would grab a pen, draw some story boards of what you want in the end and make that happen in C4D. Then render out your elements and finish the composite in AE.
Chris Smith
https://www.sugarfilmproduction.com -
? He didn’t do those. That’s a full graphics house called onesize that did those. He wants to look like those and they use a ton of 3D.
Chris Smith
https://www.sugarfilmproduction.com -
Well if you found C4D hard then you’re kind of SOL unless you try something extremely basic like Carrera. But C4D is well known to be easy, artist friendly, and of course sports the ‘mograph’ module (sold separately) which is a god send for motion graphics work. Especially the onesize type stuff.
Chris Smith
https://www.sugarfilmproduction.com -
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Thanks for the info, but I have to say that’s the first time I’ve seen someone have problems with it in the first place. You shouldn’t have to change the framerate. But lower fields is standard for the Avid codecs. I render out Quicktimes at 29.97 to the DS everyday with no problems.
Chris Smith
https://www.sugarfilmproduction.com -
Man, we need to add this to the mographwiki cause it still gets asked all the time.
In a nutshell use the AE built in effect ‘leave color’. If you need more control, then build mattes using keyers and levels (also may need a little roto here and there for cleanup) then apply that as a matte to a duplicate of the footage. One layer is B&W, the other version is color with the matting.
Chris Smith
https://www.sugarfilmproduction.com -
It’s probably some sort of pulldown that was done to it. You can try using the standard AE pulldown removel process. But if the cadence is non-standard, AE may not recognise it but it’s worth a try. Check the manual on “Remove pulldown”.
Chris Smith
https://www.sugarfilmproduction.com