Chris Smith
Forum Replies Created
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My solution would be to ignore it for now. Get the cut done and locked so you’re only dealing with the shots you are actually using. Then keyframe color corrections throughout the shot (if they hold long enough to warrant keyframes). After the cut, you may be able to do static color corrections to balance it back out.
In film color correction, it’s done this way. For example when we shoot car footage , the car will go into direct sunlight, then under shadows, etc while burning a full mag doing a car chase run. So the exposure and the average color change throughout. So for the dailies , Colorists just lay down keyframes and interpolate between them. Or ignore them altogether, wait for the final cut then only color the hand ful of seconds you actually use.
Chris Smith
https://www.sugarfilmproduction.com -
Couple options which depend on the camera move:
1. If your camera is sweeping side to side but not necessarily orbiting all the way around your characters. You can render your characters out always facing the front. Then as a flat 3D layer in AE turn on ‘orient to camera’. That way you won’t ever see the character’s flat side. You’d be surprised how much you can get away with doing this. You see it all the time on TV with greenscreen shot actors added to mograph. Or remeber playing DOOM? The original Doom did this. The characters were flat and just always faced camera. Yet it worked fine enough (at the time) for a convincing game.
2. Create the camera move in your 3D app. Render out your characters with that camera move. Then transfer the cam data to AE. You can import Maya .ma files (check online tutorials on this), but it will take some practice and scale adjustments to get it right. Or if you use C4D and it’s built in export to AE function, it’s a piece of cake.
Chris Smith
https://www.sugarfilmproduction.com -
It’s very possible it’s the subtle variations of the auto exposure that’s causing the problems in the first place. Depending what’s in the shot at what time, the camera may pick a new value to expose the frame at. I played with what you are doing once and setting the cam to auto exposure and focus was a mistake because of the constant changes. Whereas setting it 100% manual was a smooth result.
Like Dave said try the Color Stabilizer. But don’t expect miracles from it. It can some time add more variation itself if not set right.
Chris Smith
https://www.sugarfilmproduction.com -
If you are playing off a DVD player then you are stuck to the resolution of the DVD medium. If you want better resolution then output to HDCam at HD res and rent a deck for playback.
Chris Smith
https://www.sugarfilmproduction.com -
If you cropped the 4:3 using a letterbox you can crop it to any ratio you want. However the big question is resolution. The important thing to understand is resolution. An aspect ratio without considering resolution is just an artistic question of the shape of your window to your image and how you frame up for it. But in this case the question needs to be why do they want it 16:9? For the artistic framing or for broadcasting in 16:9 or 16:9 DVD’s?
Because even though in my job we always shoot film (which has a native resolution of quite a bit higher than HD), we still broadcast to a 4:3 Standard Def medium. And when we talk of doing it “widescreen” by shooting it 16:9 (1.78:1) or 1.85:1 or even 2.35:1 it’s all intended to be letterboxed in the 4:3 world. Why? Just for a better framing. My point is, you can’t answer your questions accurately unless you know the exact reason why. If they want a higher resolution for a widesreen broadcast, then I would work in a 16:9 comp and do a 4:3 crop of that output (By dropping the 16:9 comp inside a 4:3 comp and reframing). If it’s just for a widescreen framing, then I’d just letterbox it.
Chris Smith
https://www.sugarfilmproduction.com -
That tutorial is listed at the top of this page where it says “COMMON AE QUESTIONS LOOK HERE FIRST”
Chris Smith
https://www.sugarfilmproduction.com -
Don’t know if this solves it, but Mylenium said to use it in the transparency channel and not the alpha channel. You could try switching it.
Chris Smith
https://www.sugarfilmproduction.com -
Is the object apoly object (as opposed to one of the primitives)? Also, just to make sure, you are going into the anchor point mode when you move it, then switch back to model or animation mode after, yes?
Chris Smith
https://www.sugarfilmproduction.com -
What are you editing it in? A “Cold” look is just a very basic color correction. I would just do that in your NLE with it’s own color tools. It’s not like you should go through the whole transfer process just to do a simple thing in AE that can be done almost anywhere.
Chris Smith
https://www.sugarfilmproduction.com -
[koolascucumber] “someone was mentioning abt how they explained how they made jst logo .. using particular.”
Aroonz,
Nobody in this thread mentioned that. Only mentioned that Belief said they did it with Particular. Then Mylenium expanded on how it would be done IN Particular. I think how to do it doesn’t take rocket science. Mylenium has already pointed the direction to the grid/layer properties.
The original poster felt that it “Obviously” had to be done in Photoshop, so the Belief movie was simply to show it was not and that it was done with Particular.
But if you open Particular and read for a second how the layer and grid functions work, it will only lead you to how to do that effect. It’s basically generating Particals in a grid pattern only where the light parts of a pre comp or movie are. Then stick your standard glow effect on top of that and dial to taste.
Chris Smith
https://www.sugarfilmproduction.com