Chris Smith
Forum Replies Created
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PB is Production Bundle. It’s the most complete version of AE. If they are selling it for that price than it is illegal. It should at least be $999.00 US. I bought mine for $1499 a while back and that was down from the $1899 that I remember it being.
Chris Smith
https://www.sugarfilmproduction.com -
Under your your display menu at the top left of your viewport there is an option for ‘default light’ you can click on it and move it to an angle you prefer. This is active until you create a light in the scene at which time your new light takes over.
If you want a completely flat look with no shading (to give that vector kind of look like in AE) then don’t use the color channels in your materials, use the luminance channel. That way it will be all flat all the time. Then you can actually shut off all lights in the scene.
Chris Smith
https://www.sugarfilmproduction.com -
The effect you speak of is when you stop and start a film camera. As the motor slows to a halt, it over exposes the film and the film undercranks until it stops. Then when you start the camera again the process is reversed. So when ever there is a stop then start, it is the flash frame effect. SOmewhere in the early 90’s people started including these flashes in the edit. Then they went out of their way while shooting to hit the stop/start switch on the camera repeadedly while shooting to purposefully put “Flashies” all over their footage. It was used so much like Swing tilt lenses/ Flo green telecin
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hey Nils, I’d look through the archives. I personally have explained how to simulate this effect (a film camera stop and start) many times (look at last week back at the topic MAN ON FIRE effects for example). To do it right takes not only a keyframing of the contrast, but also keeping the saturation in check (because increased contrast will crank the saturation way too high which the real flash won’t do). Also you need to do a time remap at the same time. Furthermore your velocity curves need to be a spike and not linear.
Chris Smith
https://www.sugarfilmproduction.com -
Not that I know of. They would need to be re-written as carbon code.
Chris Smith
https://www.sugarfilmproduction.com -
The camera seems to project light from the auto light. In your render settings, turn off the auto light.
Chris Smith
https://www.sugarfilmproduction.com -
Dan, it sounds like you are not using the track matte but using multiply or something if it is picking up the color of the solid.
Alpha channels are equally important to animation as they are to live action. This is basic stuff if you look through your manual. It’s all in there well explained. Also pick up the unofficial AE manual which is the books from Chris and Trish Meyer. Check amazon for that. These books and your manual will tell you so much about the how to’s so that your friends at the Cow can explain the whys and when tos if that makes sense.
Chris Smith
https://www.sugarfilmproduction.com -
either animate the anchor point of the layer instead of the position. Or copy and paste the mask to a solid then use the solid layer as an alpha for the diver layer.
Alphas are an essential part of compositing, so I’d “dive” right in now. Cheap pun. I’m tired.
Chris Smith
https://www.sugarfilmproduction.com -
Brilliant. Yeah, the median seems perfect for it. Thanks for the comparison.
Thanks for the Joey reference. I’ll pass that along to the ad agency (Kerker) and the trainers. Whiplash (the monkey cowboy) has been a rodeo attraction for many years before the Taco John’s spots. The agency heard about the monkey/dog show and thought what a perverse icon that would be for a taco chain so they wrote that concept. Do the spots air where you are by chance?
Chris Smith
https://www.sugarfilmproduction.com -
On Joey? How so?
As far as the effect, I noticed you used median instead of blur. I haven’t tried median. Does it have a more convincing effect?
Chris Smith
https://www.sugarfilmproduction.com