Chris Smith
Forum Replies Created
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Usually Specular is ‘added’ over diffusion. AO and Shadow passes are ‘multiplied’ over.
Chris Smith
https://www.sugarfilmproduction.com -
Looking frame by frame everything seems to be normal. Just jittery when in motion. Out of curiosity have you tried a render with Motion Blur on to see the results? Are you getting this look on your SDI monitor?
Chris Smith
https://www.sugarfilmproduction.com -
If you’re wanting to recolor parts of an image the way commercials and music videos do you may want to simulate the Da Vinci “Power Window”. In AE create an adjustment layer above your video clip. Add the feathered mask shape to the adjustment layer. Now add whatever color effect you prefer on your adjustment layer (I use curves). You’ll notice that the curves now only effects the area in the mask. So for example in commercials where you see the obvious vignette in the sky in a wide shot, make a big oval mask over the sky, then in curves, drop the RGB Gamma a bit and whatever further tweaks make it look good.
Chris Smith
https://www.sugarfilmproduction.com -
For AE the best you can have is a smokin computer. Most of the work AE is doing is still using the CPU. It uses a GPU in some cases like Open GL, but good ol’ fashioned muscle is the best. If you are working in HD res and have an HD monitor (even a consumer Plasma) look at the Blackmagic HD Decklink cards for preview.
Chris Smith
https://www.sugarfilmproduction.com -
Datavideo? No, never heard of it. But if you’re doing broadcast graphics you should at least be working uncompressed. Any compressed format like DV would destroy half your work. Uncompressed doesn’t have to be expensive or require insane hardware. You can run a Decklink in a 5 year old G4 and just hook up a LaCie FW800 drive (the internal dual drive ones). And for probably for around $1200 you (used G4, new drive, new Decklink) you’ve got a very decent system.
Chris Smith
https://www.sugarfilmproduction.com -
Film purists and not shoot Super35? Go figure 🙂 I didn’t think the Adrenaline would allow 2K scans in real time. Only the DS Nitris. Maybe so. But unless they are doing high end effects work (doubt it if they are only shooting 16) they should at least stick to transferring to HD tape. It’s a hell of a lot easier and plenty high res. 2K scans will only point out the amount of grain in the small film gauge of 16.
But at the end of the day, you should know exactly what they are outputting to and why and conform to that. It’s mostly a resolution and aspect ratio issue.
Chris Smith
https://www.sugarfilmproduction.com -
It makes no difference what-so-ever what your source is. Like Dave is saying what matters is your output. 16mm can be transferred HD, SD or whatever. So are you doing broadcast SD graphics? Then setup your comp for that. Are you getting the 16mm as 2k Scans or just off a Digibeta from the transfer house? What matters is the amount of resolution you are going to work in and output for.
Chris Smith
https://www.sugarfilmproduction.com -
For me you can’t go wrong with a Blackmagic Decklink card. They are insanely cheap for what they give you and they just work brilliantly. If your boss won’t drop a few hundred on a high quality card for interem work, then he should think about not managing anything broadcast related. IMO.
Chris Smith
https://www.sugarfilmproduction.com -
Good animation of the mesh warp can do miracles as well.
Chris Smith
https://www.sugarfilmproduction.com -
Meaning the way you duplicate a layer. On the top copy add a guass blur (like around 6). Then drop the opacity (usually to around 30 – 40) to get a soft effect like in the example he asked about. I only say do it in PS so the effect is in the stills themselves. No need to render that effect for every frame in AE if it’s not going to animate.
Chris Smith
https://www.sugarfilmproduction.com