Chris Smith
Forum Replies Created
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I gotta say that I think the way that masks are utilized in AE is way sub standard to competing programs. I find it takes me a lot longer to jack with AE’s masks than with other apps. I can never get down when to grab a point. Sometimes I grab a point, sometimes I seem to grab something else, or I moved the whole mask even when not double clicking. I’m sure there are hardened pros that are slick with them, but I find them very counter intuitive.
just my griping.
Chris Smith
https://www.sugarfilmproduction.com -
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So is the null moving in sync with the zit? Did you set the null layer as the target track?
Other option (which I do) is to do a raw track with no target. I select all the position keyframes from the track and paste them onto the position keyframes of the null (by selecting the position parameter and hitting paste).
If the null layer is moving in sync with the zit than you are mostly there. You should select the parent pull down menu on the solid layer (with the circle mask on it) and select the null layer so it rides along with it.
As far as the mask, it can be very imprecise, it just needs to cover an area over the zit. It’s basically working as a garbage matte to confine the effect to the zit area. Just make sure once you get it to move that the zit always stays inside the mask.
Another note. The track on the mask does not have to be perfect by a long shot. Only that the zit never leaves the masked circle. Tracking is the easy way, but you can sloppily keyframe the mask to move with the zit and still get the exact same effect in the end.
But you said the removal worked well on the first frame. So the blurred duplicate set to lighten mode was doing the trick for you?
Chris Smith
https://www.sugarfilmproduction.com -
Color Finesse is one of the best features of getting 6.5. I’d definitely install it.
If you actually filmed your footage, you’d get better results by having your transfer colorist do the work.
But if you “filmed” it on video tape, I’d use CF then. Cloudy days kill your contrast. Increasing your contrast inherently increases your saturation.
So before cranking up your saturation which almost always is a bad choice, use the levels in CF (or AE levels or curves) to crush down your blacks a little and to bring up the whites until the brighter elements in the shot just start to clip. Then adjust your gamma a little darker to make up for the brighter whites. At this point you should’ve helped bring the contrast back in your image and at the same time the colors should definitely look more saturated.
Depending on how much contrast you added back in, you may even need to drop the saturation.
Chris Smith
https://www.sugarfilmproduction.com -
You shouldn’t have to restart to detect them. Once they are installed they should always be a part of AE.
Chris Smith
https://www.sugarfilmproduction.com -
Wow. Huge news. One can only dream that Adobe will make Flash understandable and logical to use. Or better yet just integrate it much tighter into AE.
Chris Smith
https://www.sugarfilmproduction.com -
Wow. Huge news. One can only dream that Adobe will make Flash understandable and logical to use. Or better yet just integrate it much tighter into AE.
Chris Smith
https://www.sugarfilmproduction.com -
Great news. Hopefully if they work on their tracker as well, one won’t have to leave AE at all to do roto and tracking.
Too bad they can’t grab Commotion’s tracker since it’s been rotting away at version 4.1 for the past few years.
Chris Smith
https://www.sugarfilmproduction.com -
Maya would obviously work. However Maya’s sprites have to use the hardware renderer which isn’t always the greatest results. I would map your corn flake image onto a plane and have the planes constrain toward camera. That way you can render out with the software renderer.
In Maya. You can have the particles emit from two different curves. and change the particles goal over time to morph from one to the other.
Chris Smith
https://www.sugarfilmproduction.com -
I can dig it. Usually ppl only bother batching through PS when it is something unique to PS. Obviously Gauss blur is in AE so you need look no further. You just probably have to pre-comp the layer after adding blur so the auto trace will read it as a complete rasterized image with the blur on it.
Chris Smith
https://www.sugarfilmproduction.com