Chris Smith
Forum Replies Created
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Thanks for the feedback guys.
I don’t have objections with plug-ins. I just want to know how to use the core package correctly and make sure I am not missing something before seeking plugs. In addition, I am just a little surprised that C4D is so rich in so many areas but missing what I think are pretty basic things. Oh Well.
Like over on the AE cow, it is common for posters to asume a new trick they see on TV is always a magic plug-in when a basic understanding of AE itself will often yield these results and always could.
I will add all these plug-ins then. I would be curious to hear the FFT trick though.
Chris Smith
https://www.sugarfilmproduction.com -
It depends on your codec. This is a very common question in the AE COW. The animation codec in QT supports an alpha channel. In AE the render module defaults to animation codec with RGB+Alpha Millions of colors+ which will give you an alpha, but there are many codecs(most?) that don’t. So it’s not just a matter of it being QT, but which codec and what settings you use for it.
Chris Smith
https://www.sugarfilmproduction.com -
Generally I think it’s 2 things. One is obviously coloring it heavily green. It could be as simple as desaturating your original footage and then multiplying it with a green solid layer.
The second thing is shoot the footage with an obie light. Meaning a light source attached to the camera. The only thing I think you won’t get is the look of the IR has in ppl’s eyes.
Chris Smith
https://www.sugarfilmproduction.com -
If you don’t mind using sprites, you can use PP or best of all Particular. Assign the forces to create the vortex and assign different layers as the instances.
I think it was done in true 3D though. Set up particle streams. Use forces to get the flow you like. Then instance objects and sprites to them. Then roto them around the actors. Do a camera track if necessary to lock up the cameras. Or if they shot it motion control (very possible) then they do one pass for the room. Then put in the actors with a little bit of greenscreen behind them. Then just layers the elements.
Chris Smith
https://www.sugarfilmproduction.com -
Adding to Steve’s comments, I think you will need to control your saturation as well. The first clip is doing a cheap simulation of what a real film camera does when you start and stop the motor. When you crush the levels down that aggresively, the saturation will jump through the roof. You will probably need to keyframe the saturation dropping at the same time to balance things out. A real film camera actually gets slightly washier when it over exposes whereas clipping the levels will do the opposite to the amount of chroma in the shot.
Chris Smith
https://www.sugarfilmproduction.com -
My only thought is to split the clip into it’s 3 channels using the Channel tools. Then do an optics compensation on all 3 seperately, then SCREEN them back together. Haven’t really played with the optics compensation, I guess you are saying it works linearly?
Chris Smith
https://www.sugarfilmproduction.com -
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Ha Ha, maybe so. Except I just can’t ever wrap my brain around it. I spend half my time working with it trying to figure out where my keyframes are and why I can’t see my clip while chasing down where the solid underneath is and getting it back to the right position. But I am mentally challenged it seems 🙂
Chris Smith
https://www.sugarfilmproduction.com -