Chris Smith
Forum Replies Created
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no, but it’s about as basic as it gets. Seems to be everyone’s maiden project in AE. Just create layers of video. Turn them all 3D with the 3D switch. Place them in space then create a camera and animate it around and through them.
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also search the archives for “8mm” and the like. It’s been talked about a lot. I know I personaly have posted my 8mm recip
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also search the archives for “8mm” and the like. It’s been talked about a lot. I know I personaly have posted my 8mm recip
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I gotta say out of all the “How was this done” posts I’ve ever seen on the Cow, this was the hardest. So Kudos to the makers of the vid.
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I believe you can render out of Mental Ray as an RPF. Do this and AE’s 3D Fog will use the RPF info to make accurate fog.
But you can always just try putting the Z pass above your normal render and set the transfer mode to Screen. Tint the Z-pass a little to a fog hue. For this to work, the Z pass should be blacker for closer and whiter for further. If it isn’t than invert it.
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Yeah. In Syntheyes, export your track as Lightwave (.lws). In C4D, just open this file like any other project. You will see the point cloud of nulls. Using C4D 9.6, you can set tags on the nulls you want to add AE layers to. Then after tagging all the nulls that you want to keep as references, I would just delete all the others. If you want to look at your video in C4D to make sure everything matches, Create a material. In the color channel load your video. Go to the animate tab and click ‘calculate’. Now Create a Background object and slap that material on there. You should see your video with all the trackers over it.
Then use the normal methods C4D uses to generate an AE comp file (aec). The great thing about doing it this way is that it’s (to me at least) less confusing and more organized. Plus since you now have C4D involved as well, you can always jump back to C4D and create true 3D elements that will match the camera perfectly. Now you can create layers in AE or in C4D and both programs have a matched camera with your BG video.
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Yes, that sounds right. But your BG video (the video you originally tracked in SE) should go in the outer comp below the “Square” Comp layer. So the solid that’s inside the square comp is laid over your video. That should sync up. Another note is that the scale between AE and Maya is Waaaay off. I remember having to do my object in the 3D space of AE at like, Scale = .1 or something like that. The number doesn’t HAVE to be exact to make a perfect track, but you’ll find it gets your scales in the ballpark.
Do you happen to own C4D? Since using C4D, I import 3D tracking data into it first (using the lws export). That way I can clean up tracking points I don’t want, I can name the ones I do want to mark for AE. Then use C4D’s built in Render to AE comp option.
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Correct me if I’m wrong, but the square comp is inside the other comp, yes?
If this is so, then you need to put the BG video in the outer comp and not the square comp. If I remember correctly, the square comp is for things in the square world like camera data, lights, etc. Whereas the outer comp stretches those things to sync up with the .9 pixel aspect ratio stuff like your video.
I haven’t used Maya import in a long time, but hopefully that points you in some useful direction.
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I agree with Jason and Vincent. As far as print resolution for the real cardboard cut outs, Just get a 2k scan of your film frame from the greenscreen shoot. Most good transfer houses offer that option. The real print will have some pixelization when you look at it in person, but remember that it will be shot not even filling the screen then eventually transferred back down to SD.
I did a Denny’s/Dreamwork’s commercail promoting “Madagascar”. We took their art and did a big cardboard cutout that we shot on camera. The art wasn’t high enough resolution so in person it looked pretty rough. But once shot and transferred back down to SD, it made no difference what-so-ever.
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Ah, the sweetness of Christmas with the stench of death.