Chris Smith
Forum Replies Created
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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 -
Some of the coolest motion graphics have had elements harvested from real sources. An obvious example is people using ink in water tanks as matte’s to reveal stuff. Or using crumpled paper as a BG texture. I would suggest grabbing real papers and cloths and scan then in to use as luma matte’s One obvious way would be to use black cloth. So when you scan it in it’s a black over white matte. Then in AE just invert it and crush the levels a little to clean it up.
Chris Smith
https://www.sugarfilmproduction.com -
I would swap them. AE doesn’t use the most out of a OpenGL card, but for C4D (especially when using the Mograph module with tons of intances) you’ll want the fastest card to display your 3D viewport. I personally always try to keep the fastests cards in my machines because in the grand scheme of things, $300 is way cheaper than your your time and efficiency lag with out it.
my .02
Chris Smith
https://www.sugarfilmproduction.com -
Yeah, I assume he didn’t have that in the scope of the question. You would have to be nuts to try and replicate that in a 2.5D program. The easiest way would be to use camera mapping (Photogrammetry) techniques in true 3D. But it would be a skillset required many times higher than laying out a few pictures in AE of course.
But if interested, photogrammetry all started here:
https://www.debevec.org/Campanile/
Chris Smith
https://www.sugarfilmproduction.com -
Yeah, I assume he didn’t have that in the scope of the question. You would have to be nuts to try and replicate that in a 2.5D program. The easiest way would be to use camera mapping (Photogrammetry) techniques in true 3D. But it would be a skillset required many times higher than laying out a few pictures in AE of course.
But if interested, photogrammetry all started here:
https://www.debevec.org/Campanile/
Chris Smith
https://www.sugarfilmproduction.com -
Background: leave it 2D. Create a solid. Add a ramp. Make it radial so it’s light in the middle then dark on the outside of the screen. Add “Colorama” to this. Set the Colorama color wheel to what looks like the 3 blue hues seen here till you get a similar vibe.
Pictures: Select a handful of photos. Mask some of them to outline the people’s heads. Add hue/sat and remove the color. Maybe do a diffusion look first in PS on them. Lay them out in AE 3D space. Obviously in X and Y but also depth (Z space). so some are closer, other’s further away. Create a camera. Turn on the DOF. Make it very light though, not heavy handed. Shadows: Those shadows aren’t true 3D shadows because despite their depth they are always the same. So just add good ol’ fashinoed “Drop Shadow” to each photo.
Movement: Normally I would say just parent everything to a null and animate the null in front of the camera (which is locked off). But it appears they used Trapcode’s 3D Stroke set to black for the lines and text. So you will need the camera to move through space for 3D stroke to travel with the pics.
Chris Smith
https://www.sugarfilmproduction.com -
Background: leave it 2D. Create a solid. Add a ramp. Make it radial so it’s light in the middle then dark on the outside of the screen. Add “Colorama” to this. Set the Colorama color wheel to what looks like the 3 blue hues seen here till you get a similar vibe.
Pictures: Select a handful of photos. Mask some of them to outline the people’s heads. Add hue/sat and remove the color. Maybe do a diffusion look first in PS on them. Lay them out in AE 3D space. Obviously in X and Y but also depth (Z space). so some are closer, other’s further away. Create a camera. Turn on the DOF. Make it very light though, not heavy handed. Shadows: Those shadows aren’t true 3D shadows because despite their depth they are always the same. So just add good ol’ fashinoed “Drop Shadow” to each photo.
Movement: Normally I would say just parent everything to a null and animate the null in front of the camera (which is locked off). But it appears they used Trapcode’s 3D Stroke set to black for the lines and text. So you will need the camera to move through space for 3D stroke to travel with the pics.
Chris Smith
https://www.sugarfilmproduction.com -
I agree with Andrew. Those are circles of confusion from a real lens defocused shooting something sparkly.
Chris Smith
https://www.sugarfilmproduction.com -
The best way is to use stock clipsThat are true film exposure at the end of a roll. Then SCREEN transfer this over your footage. For example we’ve made some of this by rolling film with the lens cap on and tweaking a bright flashlight into the viewfinder so it leaks onto the film. Then still with the lens cap on, let the roll run out. It will give you a few seconds of the orange yellow, white burning look. Then if you’re really bold, open the mag in sun light and let it expose the edges of the film.
If you don’t feel like making it yourself, there should be stock footage to use. There are digital simulations, but they just don’t look like the real thing.
Chris Smith
https://www.sugarfilmproduction.com