Chris Smith
Forum Replies Created
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Man, the color is the easiest part. I’m more impressed with the reflections of the synthetic effect being in their sunglasses. As far as the colors, that’s pretty basic. There are many ways. You can use curves or hue/sat set to colorize or use colorama. The key for the glowy stuff is duplicating layers blurring them and using ADD transfer modes back on top of each other.
But if you are an ad agency producer asking a post house that owns a flame how this is done, then yes the answer would be “only in a flame”. But everyone else knows it can be done in AE. But like I said, the color part was not a big deal, it was the other stuff that was the amazing part.
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You can also give my free cam system a try. Here’s the set, it’s the one called CS_Easycam:
https://sugarfilmproduction.com/CSTools.zip
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Furthermore, why would you want to? AE cams are way harder to navigate and animate with because AE’s 3D tools are rudimentary at best. Let 3D progarms worry about the 3D and let the 2D/2.5D worry about their own. All you have to do is sync the cameras and render out whatever mattes you need for the comp stage.
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Is your spatial interpolation linear? It will need to be switched to bezi
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Is your spatial interpolation linear? It will need to be switched to bezi
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Particular DOF I believe is set whithin Particular and not in the AE cam settings.
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PE = Paint Effects.
Built into Maya
https://usa.autodesk.com/adsk/servlet/index?siteID=123112&id=7635018
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Maya’s Paint Effects (the real PE, not the 2D AE plug in from ye olden times) can set this up quite easily and realistically, including the motion.
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Use the auto-trace function. It will outline the matte and turn it into masks.
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Best Buy in the movies section, Amazon.com.
Also a brief glimpse at kylecooper.com