Chris Smith
Forum Replies Created
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I think it should take a little longer because it’s compressed. Because AE converts anything it gets into it’s own uncompressed video stream. So every frame it has to convert from the codec to it’s internal use for import or the opposite on export.
So when the DNxHD is in AE it’s basically just a huge image it works with (I suppose theorhetically much larger than it was as the compressed version) then on export it takes a little bit more time per frame to compress it back to the codec’s standards.
Chris Smith
https://www.sugarfilmproduction.com -
2 things:
1. As far as the blue screen, when they do the film transfer (or color correct from video) if there is keyeing involved, they should always do a clean and balanced pass for the compositor to get a matte off of. So you can pull a key off the clean version and use that on the colored corrected version.
2. Try just doing raw track. Then copy paste the frames to the poistion parameter of a null layer. This null layer should move exactly on top of the track point if you had a good track. If this is the case then parent the image you want matchmoved to the null. It should now “Ride along” with the null. But the cool thing is becasue it’s prented, you are free to move the image around the screen on it’s own but it will still track with the null.
Chris Smith
https://www.sugarfilmproduction.com -
Sure, no I mean in AE.
Sorry ‘animatic’ is a typo , I meant ‘Animated’.
Transition I mean you have one layer on top of the other, keyframe the top layer’s opacity down over a few frames so it dissolves to the layer below.
So lets go from the image of the wide shot of the room. Keeping with CSI theme, let’s say it’s a photot from the top corner of the room to seem like a security cam. This is on one layer in AE.
On a layer below it, have a still image you took on set from the same POV of the wide shot, but now you either walked your cam closer to the subject or simply changed focal length to get a closer shot of his arm.
On this this second layer, add the mosaic effect and crank up the value till it’s good and pixelated. Add a mosiac to the top layer as well. Now animate top layer’s opacity from zero to a set number that looks pixelated enough. Then animate the opacity of the top layer down to zero over a handful of frames so we see the 2nd layer (that has the equal amount of mosaic). Shortly after animate the mosaic amount of the second layer down to zero.
It should look like we see the wide shot, then pretend somebody looks seriously at a monitor and asks the operator, “Enhance his arm”. We see the wide image pixelate then un pixelate and it’s the tighter image.
That’s one way. Another is with the zoom in effect.
Take the wide shot. move the layer’s anchor point to the persons arm. So that if you did scale up the image to match the second layer shot it would fit very closely on top of the it.
Now over a few frames, animated the scale of the wideshot form 100% to whatever size puts it as close to matching the tighter shot on the second layer.
Turn on motion blur. Now it will have that smearing effect as it zooms into the second layer. You can go to your comp settings and turn the motion blur higher by changing the film gate simulation number from 180 degrees to something higher.
In the middle of this scale up, dissolve (by animating opacity) from the top layer to the second layer.
You won’t notice the scale up down-rezzing of the first image because it should be very fast and the smear of the motion blur hides it.
Chris Smith
https://www.sugarfilmproduction.com -
Sure, no I mean in AE.
Sorry ‘animatic’ is a typo , I meant ‘Animated’.
Transition I mean you have one layer on top of the other, keyframe the top layer’s opacity down over a few frames so it dissolves to the layer below.
So lets go from the image of the wide shot of the room. Keeping with CSI theme, let’s say it’s a photot from the top corner of the room to seem like a security cam. This is on one layer in AE.
On a layer below it, have a still image you took on set from the same POV of the wide shot, but now you either walked your cam closer to the subject or simply changed focal length to get a closer shot of his arm.
On this this second layer, add the mosaic effect and crank up the value till it’s good and pixelated. Add a mosiac to the top layer as well. Now animate top layer’s opacity from zero to a set number that looks pixelated enough. Then animate the opacity of the top layer down to zero over a handful of frames so we see the 2nd layer (that has the equal amount of mosaic). Shortly after animate the mosaic amount of the second layer down to zero.
It should look like we see the wide shot, then pretend somebody looks seriously at a monitor and asks the operator, “Enhance his arm”. We see the wide image pixelate then un pixelate and it’s the tighter image.
That’s one way. Another is with the zoom in effect.
Take the wide shot. move the layer’s anchor point to the persons arm. So that if you did scale up the image to match the second layer shot it would fit very closely on top of the it.
Now over a few frames, animated the scale of the wideshot form 100% to whatever size puts it as close to matching the tighter shot on the second layer.
Turn on motion blur. Now it will have that smearing effect as it zooms into the second layer. You can go to your comp settings and turn the motion blur higher by changing the film gate simulation number from 180 degrees to something higher.
In the middle of this scale up, dissolve (by animating opacity) from the top layer to the second layer.
You won’t notice the scale up down-rezzing of the first image because it should be very fast and the smear of the motion blur hides it.
Chris Smith
https://www.sugarfilmproduction.com -
Just transition between differnt shots. Wide shot of scene to closer shot of arm to closer shot of tatto to closer shot of detail on tattoo. Shot as 4 differnt pics. Then in some shows they just use the mosaic effect on the next close up and then animate it lower until it’s the normal picture and not all pixelated from the mosaic effect.
Sometimes they just do an animatic scale up and opacity blend to the next shot with motion blur turned on. Try it, it’s easy. Just make sure the transition is no more than like 10 frames. It will seem like a perfect morph if quick enough.
Chris Smith
https://www.sugarfilmproduction.com -
Just transition between differnt shots. Wide shot of scene to closer shot of arm to closer shot of tatto to closer shot of detail on tattoo. Shot as 4 differnt pics. Then in some shows they just use the mosaic effect on the next close up and then animate it lower until it’s the normal picture and not all pixelated from the mosaic effect.
Sometimes they just do an animatic scale up and opacity blend to the next shot with motion blur turned on. Try it, it’s easy. Just make sure the transition is no more than like 10 frames. It will seem like a perfect morph if quick enough.
Chris Smith
https://www.sugarfilmproduction.com -
Some programs like Flash have a vectorize option, but if you use just understand it creates prett yabstract graphic versions of the original images. But there is no such thing as vectorizing a bitmap image and getting the exact thing but now endlessly resizable. If so then that freakin “infinte zoom in and enhance” in CSI and movies would actually exist 🙂
Chris Smith
https://www.sugarfilmproduction.com -
Some programs like Flash have a vectorize option, but if you use just understand it creates prett yabstract graphic versions of the original images. But there is no such thing as vectorizing a bitmap image and getting the exact thing but now endlessly resizable. If so then that freakin “infinte zoom in and enhance” in CSI and movies would actually exist 🙂
Chris Smith
https://www.sugarfilmproduction.com -
I didn’t watch the entire thing but I don’t see any trick in there other than a cut.
To me it looks like Handheld DV they did a tri-tone tint to. Then just edited it fast. Not even very well to the beat. Whenever it looks like it has ‘zoom animation’ if you look at it they just looped (via edit) a zoom out shot so it looks like some scale effect.
First of all don’t do this in AE unless you want some pain because it’s not an editor.
Second, go to your NLE and lay the track in the auido channel and put your finger on the ‘marker’ button (‘m’ in FCP). Hit play and tap to the beat through the whole song. Now you have snapping points at least for downbeats. Edit to these or halves and quarters for faster cuts.
So go shoot some aggressive home video with fast zooms and shaky camera, lots of snap pans and such then edit it fast to music.
Chris Smith
https://www.sugarfilmproduction.com -
If you get Particular you can use the orhanic lines preset but have them generate from a layer. Make a colorful layer and the particles that stream out should take on the colors. At least in theory 🙂
Chris Smith
https://www.sugarfilmproduction.com