Chris Smith
Forum Replies Created
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Thanks Guys. That works. Would be nice if hitting the local/global button would change the Axis handles to reflect the new coord system though :-/
Chris Smith
https://www.sugarfilmproduction.com -
I think a philisophical discussion of originality is best discussed over coffee at 2am. Picasso didn’t jump into his cubist work right away. He copied other classic styles to learn where he currently is and how others are using the tool. Then only later did he copy African art. Just like programming. Most programmers use libraries that build on other’s work rather than worry about the originality of coding everything from scratch. Standing on the shoulders of giants. I don’t think copying this video is copying the next or current cool thing because the smear effect was overused almost 3 years ago. So I assume he was learning this technique to apply to something else. Since there are many techniques in this art that overlap.
I asked in another forum how someone did something I like and his answer was “I’d rather dsicuss the ‘whys’ and not the ‘hows'”. Which is a noble sounding way of covering his tricks. But at the end of the day one needs to know the ‘hows’ to create his own ‘whys’…if he choses to.
And many I imagine on this forum are hobbyists and are happy copying other’s tricks none-the-less the way my dad loves playing Beatles songs on the guitar and could care less about writing original songs. Can’t fault him for it. It’s just something entartaining to do instead of watching the tube.
my .02
Chris Smith
https://www.sugarfilmproduction.com -
I just received the new Shotz reel with this spot on it. The article in the book with the disc said they used 250 extras on the set.
Chris Smith
https://www.sugarfilmproduction.com -
First of all they should know what aspect ratio they shot it in. If it’s video then it is most likly 16:9.
But if nothing else, look for features in the shot that you know would be perfectly round or perfectly square then undistort so it feels right. If you are off by a pixel or two, then that’s the price to pay for a client who doesn’t know what aspect ratio they are doing their entire project in.
Chris Smith
https://www.sugarfilmproduction.com -
Well, if it’s ribbons you seek, It’s a huge pain in Maya by using birails. In C4D, it’s as simple as animating the ‘growth’ parameter on the sweep nurbs.
Chris Smith
https://www.sugarfilmproduction.com -
Geez, I step down as Cow leader for a few days and they’re already calling me Andrew 🙂
Yeah, what he said, I use the color mixer on monochrome a lot for just this. Actually more often to create a matte to pull a key without using a keyer.
Chris Smith
https://www.sugarfilmproduction.com -
Thanks Wlater. Ken Latman posted that below as well. Unfortunately it’s getting to be that time when many pioneers in the FX industry will start passing on 🙁
These were the great guys. They could only dream of having software like AE where their biggest problem is just reading the manual to see where a function is. These guys used optics and chemicals to create magic and to allow others to create magic of their own.
I’ll pour a drink.
Chris Smith
https://www.sugarfilmproduction.com -
No. It may be from showing you something about the color channels you didn’t notice before from the color. I would look at the individual color channels anyways when doing B&W. It’s rare that the default combo of the three channels give the best result. Often you’ll find that the blue channel is by far the noisiest. So just dropping it alone should clean up your image. Many times, just the red channel looks the best. You’ll find that many B&W photographers shoot with red filters over their cam. Taking a color photograph and just using the red channel is very similar if not the same thing.
Chris Smith
https://www.sugarfilmproduction.com -
BTW, you can do “cheap” timelapse now without renting a camera and intervelometer. If you have a digital SLR cam, Canon and Nikon both give you free software to control the camera. The frames it makes can be imported into AE as a movie. Obviously set the shutter very slow to get the blurring.
Chris Smith
https://www.sugarfilmproduction.com -
Just to make sure, crank your aperature way up (like 1000) so if you do have it on, it’s brutally obvious. Then once you figure it out, work down from there.
Chris Smith
https://www.sugarfilmproduction.com