Chris Smith
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I’ve decided the ABC promo is the last holdout for 3D Stroke finally dying out of motion graphics. McDonald’s sealed “Shine’s” fate already.
Chris Smith
https://www.sugarfilmproduction.com -
Nope, you said it opposite. If your using tungsten balanced film, daylight would be very blue. 5800 kelvin light under tungsten balance (3200) is blue.
You are thinking of film/video balanced to daylight and using 3200 light which would be orange. But once again in space it doesn’t apply.
https://en.wikipedia.org/wiki/Color_temperature
Chris Smith
https://www.sugarfilmproduction.com -
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Chris Smith
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Chris Smith
https://www.sugarfilmproduction.com -
There is the loopout expression or you can take your BG, back it up halfway. Copy the layer. On the copy move it forward halfway then animate a opacity dissolve between the two layers in the middle where they meet. Then render this out. Bring back in and set the footage to loop in the loop options.
Chris Smith
https://www.sugarfilmproduction.com -
There is the loopout expression or you can take your BG, back it up halfway. Copy the layer. On the copy move it forward halfway then animate a opacity dissolve between the two layers in the middle where they meet. Then render this out. Bring back in and set the footage to loop in the loop options.
Chris Smith
https://www.sugarfilmproduction.com -
As far as 3D sphere rendering time, I would isolate each elemet that uses 3D sphere and render them out seperately. Then bring those renders into a comp and actually do the compositing then. Just like standard workflow for 3D. Render out all your elements and just use AE to do the actual composite. You’ll find that you can work a ton quicker so it’s not re-rendering a CC Sphere everytime you change something simple.
[deaditteX] “(Technically its 5800 degrees Kalvin and hence orange, but who cares about thatwe are playing with pixels here)”
Well, the sun is only percieved as 5000 to 7000 kelvin because of the bluish atmosphere of the Earth so being in space makes it an irrelevent number. And of course what color Kelvin is is relative to where you consider white in your project. If white is “balanced” at 5800 then the sun is white and for orange you would need to drop to below 3500 Kelvin. If you are balanced at around tungsten (3200) kelvin, then 5800 looks quite blue.
If we lived on Mars with a reddish atmosphere, none of those numbers make an ounce of sense. Same with in space.
Chris Smith
https://www.sugarfilmproduction.com -
If you just zoom into the next frame over a handful of frames, you’ve solved your problem. Zooming into the next scene isn’t a prob because it just goes from small to normal size. But the area around the card will pixelate. However if your zoom in is only like 10 frames or less. just turn on motion blur and it will hide it for you. Just try it, it works better than you think. You don’t need a radial blur becuase scaling up quickly creates a radial looking blur anyways by way of the motion.
Chris Smith
https://www.sugarfilmproduction.com -
I used Maya for 3 years then tried C4D a bit over a year ago. I changed over completely. In fact C4D is so flexible and programmable, I barely ever touch AE anymore. A great number of questions I see here posted at the AE Cow can be easily done in true 3D with C4D. Especially now that the Mograph module is out. If someone considers themselves a Motion Designer, they should download the C4D demo and spend some time with it IMO.
Chris Smith
https://www.sugarfilmproduction.com -
3D track the scene. In a 3D program just make artistic splines and use them in a sweepnurbs to create the stroke. Lay out these objects in the scene so they correspond to filmed/taped objects. Render out. In AE glow them up and do some simple roto for the pillars to punch them out. comp back on top.
The glowing lines are simple, I just think the impressive thing is the 3D tracking and parallax that makes it interesting.
Chris Smith
https://www.sugarfilmproduction.com